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The  University  of  the  State  of  New  York 


CATALOG  OF  WALL  PICTURES 


LOAN    COLLECTION 

of  the 
Division  of  Visual  Instruction 


nnc 


PAGE 

General  announcement • •  •  •  • \'  "  V  " i""A  ^ 

Comments  on  the  study  of  reproductions  of  standard  works  ot  art  and 
schoolroom  decoration 

Art  as  a  field  of  study 5 

The  study  of  pictures 5 

Schoolroom  decoration ^ 

Bibliography. ;^-  •  •  •  i--  •  •  •,:;. fl 

Classification  of  j^aintero  by  nationahties 1 1 

Classification  of  sculptors  by  nationalities I3 

Classification  of  paintings  according  to  nature  of  subject 13 

Pictures  appropriate  for  primary  grades 17 

Pictures  appropriate  for  intermediate  grades lo 

Pictures  appropriate  for  high  school  grades 20 

List  of  pictures  in  loan  collection,  with  references 

Paintings  (artists'  names  arranged  in  alphabetic  order) 22 

Greek  and  Roman  sculpture 4^ 

Renaissance  and  modem  sculpture 4^ 

Noted  architecture  and  scenes 

Egypt 42 

Greece 4^ 

Italy 43 

Palestine 43 

Great  Britain 43 

France 44 

Portugal 44 

Spain 44 

United  States 45 

Portraits 45 

Natural  scenery 4^ 

> 

THE    UNIVERSI-ri-  ^ Of*,  THeJ  ^TAV^  '.t)K?^P W^.  ^^^^ 
1914    * 
V34r-Agi4-2000  (7-18526) 


VoJ"  THE  UNIVERSITY  OF  THE  STATE  OF  NEW  YORK 

Regents  of  the  University 
With  years  when  terms  expire 

1917  St  Clair  McKelway  M.A.  LL.D.  D.C.L.  L.H.D. 

Chancellor  Brooklyn 
1926  Pliny  T.  Sexton  L'^^.B.  LL.D.    Vice  Chancellor    Palmyra 

191 5  Albert  Vander  Vl  .r  M.D.  M.A.  Ph.D.  LL.D.     Albany 

1922  Chester  S.  Lord  M.A.  LL.D.     -----  New  York 

1918  William  Nottingham  M.A.  Ph.D.  LL.D.     -    -  Syracuse 
1921  Francis  M.  Carpenter         ______  Mount  Kisco 

1923  Abram  I.  Elkus  LL.B.  D.C.L.    -----  New  York 

1924  Adelbert  Moot  LL.D.     -----__  Buffalo 

1925  Charles  B.   Alexander    M.A.   LL.B.   LL.D. 

Litt.D.     -----------  Tuxedo 

1919  John  Moore      ___----_-_  Elmira 

1920  Andrew  J.  Shipman  M.A.  LL.B.  LL.D.       -    -  New  York 

19 16  Walter  Guest  Kellogg  B.A     -----  Ogdensburg 

President  of  the  University 
and  Commissioner  of  Education 

John  H.  Finley  M.A.  LL.D.  L.H.D. 

Assistant  Commissioners 

Augustus  S.  Downing  M.A.  L.H.D.  LL.D.  For  Higher  Education 
Charles  F.  Wheelock  B.S.  LL.D.  For  Secondary  Education 
Thomas  E.  Finegan  M.A.  Pd.D.  LL.D.  For  Elementary  Education 

Director  of  State  Library 

James  L  Wyer,  Jr,  M.L.S. 

Director  of  Science  and  S;ate  Museum 

John  M.  Clarke  Ph.D.  D.Sc.  LL.D. 

Chiefs  of  Divisions 

Administration,  George  M.  Wiley  M.A. 

Attendance,  James  D.  Sullivan 

Educational  Extension,  William  R.  Watson  B.S. 

Examinations,  Harlan  H.  Horner  B.A. 

History,  James  A.  Holden  B.A. 

Inspections,  Frank  H.  Wood  M.A. 

Law,  Frank  B.  Gilbert  B.A. 

Library  School,  Frank  K.  Walter  M.A.  M.L.S. 

Public  Records,  Thomas  C.  Quinn 

School  Libraries, •^hERM'Aikf  WjiCi^MS  Pd.D. 

Statistics,  Hiram  t.^  Cas'e  *  ''  *  "  ^^ 

Visual  Instruciipi^;A^>]jBD?W:^4>pR^^    Ph.B. 

Vocational  Schools,  Arthur '£).D'ean  D.Sc. 


»    • 


» * 


ANNOUNCEMENT 

With  the  pubHcation  of  this  catalog,. the  Division  of  Visual  In- 
struction announces  the  resumption  of  ti.^  lending  of  wall  pictures, 
which  was  interrupted  three  years  ago  because  of  the  losses  result- 
ing from  the  Capitol  fire  of  191 1.  The  University  first  undertook 
such  a  means  of  encouraging  art  education  as  early  as  1896.  The 
benefits  that  have  been  derived  from  this  form  of  State  aid  are 
shown  in  part  by  the  numerous  excellent  photographic  reproductions 
of  the  world's  great  paintings,  sculpture  and  architecture  now  to 
be  seen  in  most  of  the  secondary  schools  of  the  State.  Doubtless 
the  influence  of  the  collection  might  be  traced  also  to  many  homes 
where  house  decoration  has  come  to  show  a  more  refined  taste, 
and  likewise  to  the  keener  appreciation  and  enjoyment  of  beauty 
by  many  individuals  who  within  the  past  eighteen  years  have  had 
an  opportunity  thus  to  become  familiar  with  a  certain  number  of 
the  works  of  noted  artists  through  such  reproductions. 

The  present  loan  collection  is  necessarily  incomplete,  but  is  fairly 
representative  of  dififerent  classes  of  subjects  and  schools  of  artists. 
It  is  smaller  than  the  former  collection,  but  on  the  whole  much 
better  in  quality  and  more  varied  in  subjects.  Since  the  first  pur- 
chases were  made,  nearly  twenty  years  ago,  the  number  of  works 
offered  in  good  reproductions  has  been  extended  to  a  wider  range 
of  subjects  and  a  higher  standard  of  excellence  has  been  established 
for  the  collection  as  well  as  for  the  schools. 

The  whole  number  of  pictures  nOw  in  the  collection  is  555 ; 
the  number  of  subjects  represented  is  285.  As  there  are  nearly 
1000  high  schools  and  about  10,500  common  district  schools  in 
this  State  entitled  to  borrow,  it  is  apparent  that  the  collection  can 
not  serve  the  purpose  of  supplying  all  these  schools  continuously 
with  wall  pictures ;  nor  should  this  be  the  purpose  of  the  collection. 
Observation  tells  us  that  in  most  cases  a  school  is  not  disposed  to 
rely  altogether  upon  the  State  collection.  When  a  temporary  loan 
has  been  recalled,  the  pictures  are  missed  to  such  an  extent  that 
the  school  finds  some  means  of  securing  for  its  permanent  possession 
equally  good  ones  with  which  to  decorate  what  would  otherwise  be 
unattractive  walls. 

The  loan  collection  first  of  all  stimulates  an  interest  in  a  refined 
decoration  of  schoolrooms ;  in  the  second  place,  it  does  something 
to  familiarize  the  schools  with  pleasing  and  appropriate  subjects; 


a0fiQQ2 


and  third,  it  establishes  a  standard  of  excellence  in  quality  for  the 
guidance  of  those  about  to  purchase. 

The  list  here  given  should  not,  however,  be  regarded  quite  as  a 
recommended  list.  Many  other  subjects  would  be  added  if  funds 
permitted.  A  few  would  not  be  purchased  again.  Certain  of  the 
publications  listed  are  not  of  the  best  quality,  but  were  already  in 
the  collection  and  may  be  of  too  much  service  to  warrant  dis- 
carding them.  In  some  cases  the  framing  is  not  entirely  satisfac- 
tory. Yet  on  the  whole  the  collection  is  a  superior  one,  and  a 
school  about  to  make  purchases  will,  it  is  hoped,  find  helpful 
suggestions  in  the  list  and  in  the  pictures  themselves. 

In  acting  upon  applications  for  loans,  the  aim  hereafter  will  be 
perhaps  even  more  than  formerly  to  judge  as  well  as  possible  the 
opportunity  there  is  of  influencing  through  the  loan  the  action  of 
the  community  in  the  matter  of  providing  permanently  for  more 
pleasing,  tastefully  decorated  schoolrooms,  corridors  and  grounds. 

Along  with  the  benefits  of  this  loan  collection  are  to  be  counted 
those  growing  out  of  the  careful  work  of  the  Division  in  passing 
upon  applications  for  the  approval  of  reproductions  of  standard 
works  of  art  as  the  basis  of  an  apportionment  of  State  money  to 
cover  one-half  the  cost  of  such  reproductions.  The  loan  collection 
and  these  apportionments  must  be  made  so  far  as  possible  to  work 
together.  From  $15,000  to  $18,000  worth  of  wall  pictures  are 
being  approved  each  year  and  the  amount  is  Hkely  to  be  increased. 

By  a  recent  modification  of  the  statute  governing  apportionments 
from  the  academic  fund,  a  common  district  school  may  receive  aid 
in  providing  good  reproductions  of  standard  works  of  art.  Such  a 
school  may  also  share  in  the  benefits  of  the  loan  collection. 

For  regulations  governing  loans  and  also  apportionments  of 
money,  see  the  latest  edition  of  Handbook  31. 

A.  W.  Abrams, 
Chief,  Division  of  Visual  Instruction 
Albany,  N.  Y .,  August  10,  IQ14 


THE  STUDY  OF  REPRODUCTIONS  OF  STANDARD 
WORKS  OF  ART  AND  SCHOOLROOM  DECORATION 

Art  as  a  field  of  study.  Art  is  one  of  the  large  fields  of  study. 
It  easily  takes  rank  with  literature.  Knowledge  of  Rembrandt, 
Michelangelo  and  St  Gaudens  is  as  much  an  evidence  of  culture 
as  knowledge  of  Shakspere,  Dante  and  Bryant.  The  ability  to 
appreciate  good  painting,  sculpture  or  architecture  affords  as  much 
genuine  satisfaction  as  the  ability  to  read  poetry,  fiction  or  drama. 

The  school  may  as  properly  encourage  and  aid  the  study  of  one 
as  of  the  other.  Thirty  years  ago  the  subject  of  drawing  began 
to  be  somewhat  generally  introduced  into  the  schools  of  New  York 
State.  At  first  it  was  confined  largely  to  a  study  of  type  solids 
and  drawing  from  copies,  but  the  scope  of  the  course  has  been 
steadily  enlarged  in  the  direction  of  art  appreciation  and  practical 
design.  In  literature  the  emphasis  has  of  late  been  placed  upon 
the  importance  of  making  pupils  familiar  with  representative  literary 
works  through  appreciative  reading  of  them.  So  in  art  there  is 
need  of  more  study  of  the  world's  great  examples  of  created  beauty 
in  form,  color  and  design.  For  most  persons,  study  with  a  view  to 
an  appreciation  of  art  is  worth  more  than  efforts  to  produce. 

It  is  now  possible  through  excellent  photographic  reproductions 
to  teach  art  to  classes  in  the  elementary  and  secondary  schools. 
Good  schoolroom  decoration  is  one  of  the  direct  means  of  doing 
this,  and  boards  of  education  should  be  as  prompt  and  earnest  in 
making  schoolrooms  pleasing  in  appearance  and  in  decorating  them 
with  good  reproductions  of  standard  works  of  art  as  in  equipping 
laboratories  and  providing  libraries. 

The  study  of  pictures.  Pupils  should  be  trained  to  read  pictures. 
Painting  is  a  mode  of  expression ;  the  artist  by  means  of  paint  and 
brush  is  telling  a  story,  describing  a  scene  or  a  person  or  presenting 
some  thought  or  idea.  Teachers  should  endeavor  to  interpret  the 
picture. 

Pupils  should  describe  what  they  see,  noting  details  and  discover- 
ing their'  significance.  How  many  persons  have  looked  at  the 
picture  of  the  Gleaners,  by  Millet,  a  hundred  times  and  yet  could 
tell  nothing  more  about  it  than  that  three  peasant  women  are  bend- 
ing over  to  pluck  the  stray  stalks  of  grain.  True,  this  is  the 
dominant  interest  in  the  painting  but  the  artist  had  a  purpose  in 
putting  into  his  picture  the  busy  scene  in  the  background  —  the  over- 
seer on  horseback  and  many  people  at  work. 


Even  younger  pupils  should  be  trained  to  see  all  there  is  in  a 
picture  but  should  not  attempt  art  criticism.  They  should  associate 
with  the  picture  its  title  and  the  artist's  name.  Of  course  it  will 
be  necessary  in  most  cases  for  a  teacher  to  make  some  explanations 
or  give  some  facts  that  will  add  interest  to  a  picture.  For  instance, 
children  will  enjoy  the  portrait  of  Baby  Stuart  as  a  picture  of  a 
baby  in  a  queer  cap  and  holding  a  ball  but  it  will  increase  the  interest 
if  they  are  told  that  the  picture  is  that  of  a  baby  called  James  who 
afterward  became  the  King  of  England. 

In  the  intermediate  grades  something  of  the  artist's  life  and 
character  may  be  taught,  particularly  such  facts  as  will  contribute 
in  any  way  to  an  understanding  of  the  painting  studied.  For 
example,  Landseer's  love  for  animals;  Reynold's  fondness  for  little 
girls. 

Older  pupils  may  profitably  make  a  comparative  study  of  the 
works  of  an  artist  or  of  different  artists,  note  the  common  character- 
istics of  the  several  works  of  an  artist  and  the  class  of  subjects 
painted,  and  become  familiar  with  simple  points  of  technic,  illus- 
trating general  principles  of  the  school  course  in  art. 

The  aim  in  all  this  should  be  to  arouse  interest  in  art,  to  develop 
power  to  appreciate  beauty  and  to  establish  the  attitude  of  mental 
response  to  the  many  beautiful  things  that  are  daily  presented  to 
every  person,  whatever  his  walk  in  life  may  be.  Some  specific 
facts  must  be  known,  and  there  are  many  advantages  in  being  able 
to  state  in  well-chosen  words  what  one  sees  in  a  work  of  art  and 
why  one  enjoys  it,  but  the  essential  thing  is  that  one  shall  acquire 
the  ability  to  appreciate  for  the  sake  of  gratifying  the  higher 
feelings. 

What  has  been  said  above  with  special  reference  to  painting 
applies  in  spirit  also  to  sculpture,  architecture  and  the  applied  arts. 

Schoolroom  decoration.  It  is  not  enough  to  provide  pictures 
for  the  schoolroom  walls  and  to  study  them.  The  choice  of  them 
and  their  arrangement  on  the  walls  are  also  matters  of  importance 
in  realizing  their  full  educational  value. 

The  schoolroom  wall  should  be  considered  as  furnishing  a  problem 
in  space  division,  and  pictures  should  be  placed  on  it  with  a  proper 
regard  for  the  principles  that  govern  such  composition. 

Some  of  the  principles  of  art  that  should  be  applied  to  the  selec- 
tion and  placement  of  a  picture  for  a  given  space  are  the  following : 
fitness  —  the  appropriateness  of  the  picture  in  shape,  size  and  char- 
acter ;  harmony  —  a  pleasing  relation  to  its  surroundings  ;  balance  — 


a  sense  of  equilibrium  or  repose ;  variety  —  avoiding  a  monotonous 
or  stiff  arrangement. 

A  picture  should  hang.  It  should  have  space  all  around  it. 
Therefore  it  should  not  rest  upon  the  blackboard  or  other  object. 
But  it  should  not  be  so  high  as  to  appear  "  skied."  Pictures  on 
the  school  wall  should  not  appear  crowded,  that  is,  they  should 
not  be  too  large  for  the  spaces  in  which  they  hang  nor  placed  too 
close  to  one  another.  On  the  other  hand,  a  small  picture  on  a 
large  space  is  not  at  all  satisfactory. 

The  character  of  the  picture,  the  distance  at  which  it  is  generally 
seen,  the  height  of  the  ceiling  and  the  available  space  for  pictures 
must  all  be  determining  factors  in  the  placing  of  pictures. 

Pictures  that  have  large  masses  and  strong  outlines,  that  is,  good 
"  carrying  "  power,  may  be  placed  higher  than  pictures  with  small 
figures,  fine  detail  or  weak  lines.  Pictures  of  the  latter  type  should 
so  far  as  possible  be  hung  where  they  will  generally  be  viewed  at 
close  range. 

The  division  will  be  more  pleasing  if  the  spaces  above  and  below 
the  picture  are  unequal. 

Pictures  should  not  always  be  centered  from  left  to  right.  If 
one  end  of  the  space  is  dark,  as  in  a  poorly  lighted  corner  of  a 
room,  it  is  better  to  place  the  picture  in  the  center  of  the  well- 
lighted  part. 

In  determining  the  position  for  a  picture,  try  it  at  different  heights 
and  in  different  places  until  the  right  spot  seems  to  have  been  found. 
It  is  said  that  Whistler,  when  placing  in  a  painting  the  butterfly  used 
as  a  monogram,  would  try  it  in  many  different  positions,  erasing  it 
each  time,  until  he  found  the  exact  spot  where  it  would  best  fit 
into  the  composition. 

A  picture  should  be  hung  by  two  wires,  for  the  vertical  lines  thus 
formed  are  more  in  harmony  with  the  lines  of  a  room  and  are  less 
conspicuous  than  the  lines  of  a  wire  converging  at  or  near  the 
ceiling.  Furthermore  the  picture  is  more  secure  and  less  likely  to 
slip  and  hang  crooked. 

Avoid  putting  the  screw  eyes  too  low,  for  the  picture  will  then 
tip  forward  at  too  great  an  angle.  The  screw  eyes  should  not  be 
more  than  one-third  of  the  distance  from  the  top  and  probably 
as  a  rule  not  so  low  as  that.  A  picture,  unless  hung  rather  high 
and  seen  at  close  range,  should  tip  out  only  very  little  at  the  top. 

As  a  teacher  begins  to  provide  good  reproductions  of  works  of 
artistic  merit,  the  cheap,  taudry  pictures  and  other  worthless  objects 


8 

that  have  found  their  way  into  the  schoolroom  from  time  to  time 
will  be  removed  and  the  character  of  the  room  will  be  entirely 
changed. 

An  orderly  arrangement  of  whatever  is  in  the  room  is  an  essential 
element  in  good  decoration.  No  teacher  can  consistently  conduct 
exercises  in  drawing,  involving  studies  in  balance,  harmony  and 
rhythm,  in  a  schoolroom  whose  very  walls  are  constantly  a  gross 
violation  of  the  principles  to  be  taught.  Instruction  under  such 
conditions  must  be  regarded  as  merely  formal  and  without  pur- 
pose or  appreciation. 

BIBLIOGRAPHY 

This  is  not  a  full  and  comprehensive  bibliography,  having  been 
prepared  chiefly  for  the  guidance  of  those  who  are  unable  to  devote 
a  large,  amount  of  time  to  the  study  of  art.  It  will  be  noted  that  a 
considerable  number  of  the  books  included  are  elementary  in 
character. 

For  a  general  study  and  appreciation  of  art  principles: 

Page  references  have  not  been  given  to  any  of  the  books  in  this  section  of 
the  bibliography. 

Beale,  S.  Sophia.     The  Amateur's  Guide  to  Architecture.     John 

Grant,    Edinburgh 
Branch,  Elizabeth  Garrabrant.     Illustrated  Exercises  in  Design. 

The  Prang  Company 
Browne,  Edith  A.     Great  Buildings  and  How   to  Enjoy  Them: 

Gothic  Architecture.    Adam  and  Charles  Black 

Greek  Architecture.    Adam  and  Charles  Black 

Caffin,  Charles  H.     A  Child's  Guide  to  Pictures.     The  Baker  & 

Taylor  Company 

How  to  Study  Pictures.     The  Century  Co. 

Cox,  Kenyon.    The  Classic  Point  of  View.    Charles  Scribner's  Sons 
Emery,  M.  S.     How  to  Enjoy  Pictures.     Prang  Educational  Co. 
Hartmann,   Sadakichi       (Sidney  Allan,  pseud.)      Landscape   and 

Figure  Composition.    The  Baker  &  Taylor  Company 
Hoyt,    Deristhe   L.     The   World's   Painters   and  Their   Pictures. 

Ginn  &  Company 

Concise  characterization  of  painters  and  their  works.  Gives  meaning  of 
technical  terms,  symbols  used  in  devotional  art,  etc. 

Poore,  H.  R.     Pictorial  Composition  and  the  Critical  Judgment  of 
Pictures.     The  Baker  &  Taylor  Company 


Sturgis,  Russell.     The  Appreciation  of   Pictures.     The  Baker  & 

Taylor  Company 
The  Appreciation  of  Sculpture.    The  Baker  &  Taylor 

Company 

How"  to  Judge  Architecture.     The  Baker  &  Taylor 


Company 
Van  Dyke,  John  C.    Art  for  Art's  Sake.     Charles  Scribner's  Sons 

How  to  Judge  of  a  Picture.     Methodist  Book  Concern 

The  Meaning  of  Pictures.     Charles  Scribner's  Sons 

Studies  in  Pictures.    Charles  Scribner's  Sons 

Wallis,  Frank  E.     How  to  Know  Architecture.    Harper  &  Bros. 
Witt,  Robert  Clermont.     How  to  Look  at  Pictures.     George  Bell 

&  Sons,  London 

For  the  study  of  particular  works  of  art  and  accounts  of  particular 
artists: 
Addison,   Julia   de   Wolf.     The   Boston   Museum   of   Fine   Arts. 

L.  C.  Page  &  Co. 
Barstow,  Charles  L.     Famous  Pictures.    The  Century  Co. 

For  young  people.     Descriptions  of  famous  pictures,  anecdotes  of  artists' 
lives,  chronological  table  of  painters,  glossary  of  technical  terms. 

Baxter,  Sylvester.  The  Legend  of  the  Holy  Grail  as  Set  Forth 
in  the  Frieze  Painted  by  Edwin  A.  Abbey.    Curtis  &  Cameron 

Bryant,  Lorinda  Munson.  What  Pictures  to  See  in  Europe  in 
One  Summer.     John  Lane  Company 

Caffin,  Charles  H.  American  Masters  of  Painting.  Doubleday, 
Page  &  Co. 

* The    Story    of    American    Painting.     Frederick    A. 

Stokes  Company 

f The  Story  of  French  Painting.     The  Century  Co. 

Chesneau,  Ernest.  The  English  School  of  Painting.  Cassell  & 
Co.,  London 

Clement,  Clara  Erskine  (Mrs  Waters).  A  Handbook  of  Christian 
Symbols  and  Stories  of  the  Saints  as  Illustrated  in  Art.  Hough- 
ton Mififlin  Company 

Cox,  Kenyon.     Old  Masters  and  New.     Fox,  Duffield  &  Co. 

Eaton,  D.  Cady.  A  Handbook  of  Modern  French  Painting.  Dodd, 
Mead  &  Co. 

Garesche,  Marie  R.    Art  of  the  Ages.    The  Prang  Company 

Gardner,  Ernest  Arthur.  A  Handbook  of  Greek  Sculpture.  The 
Macmillan  Co. 


lO 

Greenslet,  Ferris.  The  Quest  of  the  Holy  Grail.  Curtis  &  Cam- 
eron 

Hartmann,  Sadakichi.  (Sidney  Allan,  pseud.)  A  History  of 
American  Art.    2  v.    L.  C.  Page  &  Co. 

Hurll,  Estelle  M.  Greek  Sculpture.  Houghton  Mifflin  Co.  Riv- 
erside Art  Series 

Landseer.     Houghton  Mifflin  Co. 

Michelangelo.     Houghton  Mifflin  Co. 

Jean  Frangois  Millet.    Houghton  Mifflin  Co. 

Murillo.     Houghton  Mifflin  Co. 

Raphael.     Houghton  Mifflin  Co. 

Rembrandt.     Houghton  Mifflin  Co. 

Sir  Joshua  Reynolds.     Houghton  Mifflin  Co. 

Titian.     Houghton  Mifflin  Co. 

Van  Dyck.     Houghton  Mifflin  Co. 

Isham,  Samuel.  History  of  American  Painting.  The  Macmillan 
Co. 

King,  Pauline.  American  Mural  Painting.  Noyes,  Piatt  &  Com- 
pany 

Kugler,  Franz  Theodor.  The  German,  Flemish  and  Dutch  Schools 
of  Painting.    2  v.    John  Murray 

* The  Italian  Schools  of  Painting.    2  v.    John  Murray 

McSpadden,  J.  Walker.  Famous  Painters  of  America.  Thomas 
G.  Crowell  &  Co. 

Michigan    State    Library.      Biographical    Sketches    of    American 
Artists 
Includes  practically  all  the  American  artists  represented  in  this  collection 

and  is  particularly  valuable  for  the  study  of  some  of  our  living  artists.     It 

contains  a  list  of  periodical  references. 

Monkhouse,    Cosmo.      British    Contemporary    Artists.      William 

Heinemann 
Muther,  Richard.     The  History  of  Modern  Painting.     4  v.     E.  P. 

Button  &  Co. 
Potter,  Mary  Knight.     The  Art  of  the  Louvre.    L.  C.  Page  &  Co. 
PubUc  Library  of  the  City  of  Boston.     Description  of  the  Mural 

Decoration 

Handbook.     Curtis  &  Cameron 

Pythian,  J.  E.  Fifty  Years  of  Modern  Painting: — Corot  to  Sar- 
gent.   E.  P.  Dutton  and  Company 

Rooses,  Max.  Dutch  Painters  of  the  19th  Century.  4  v.  S.  Low, 
Marston  &  Co. 


II 


Singleton,  Esther,  ed.     Famous  Paintings  as  Seen  and  Described 

by  Famous  Writers.    Dodd,  Mead  &  Co. 

Famous  Sculpture.     Dodd,Mead  &  Co. 

* Great  Pictures.     Dodd,  Mead  &  Co. 

t Modern  Paintings.     Dodd,  Mead  &  Co. 

Small,  Herbert,  cornp.    Handbook  of  the  New  Library  of  Congress. 

Curtis  &  Cameron 
Stranahan,  C.  H.     A  History  of  French  Painting.     Charles  Scrib- 

ner's  Sons 
Taft,  Lorado.     A  History  of  American  Sculpture.     The  Macmillan 

Co. 
Tarbell,  F.  B.     A  History  of  Greek  Art.     The  Macmillan  Co. 
Tytler,  Sarah,  pseud,  of  Henrietta  Keddie.     Modern  Painters  and 

Their  Paintings.     Little,  Brown  and  Co. 
Van  Dyke,  John  C.  &  Cole,  Timothy.     Old  Dutch  and  Flemish 

Masters.    The  Century  Co. 
*Van  Dyke,  John  C,  ed.     Modern  French  Masters.     The  Century 

Co. 
Wilson,  L.  L.  W.     Picture  Study  in  Elementary   Schools.     The 

Macmillan  Co. 

Pt  I :  primary  grades 
*Pt  2 :  grammar  grades 

Periodicals 

Masters  in  Art.     1900-9.     No  longer  published 
The  School  Arts  Magazine,  Boston,  Mass. 

CLASSIFICATION    OF    PAINTERS    ACCORDING    TO 
NATIONALITIES 


American 


Abbey,  Edwin  Austin 
Alexander,  John  W. 
Brush,  George  de  Forest 
Church,  Frederick  Edwin 
Couse,  E.  Irving 
Davis,  Charles  H. 
Farny,  Henry  F.  (born  in  Alsace) 
Gardner,    Elizabeth    (Madame    Wil- 
liam A    Bouguereau) 
Hitchcock,  George 
Homer,  Winslow 
Hunt,  William  Morris 
Inman,  Henry.     See  p.  45 
Inness,  George 


Leutze,  Emanuel  (born  in  Germany) 

Martin,  Homer  D. 

Remington,  Frederic 

Rosenthal,  Toby  Edward 

Sargent,  John  Singleton 

Simmons,  Edward 

Stuart,  Gilbert.     See  p.  46 

Sully,  Thomas  (born  in  England) 

Taylor,  William  Ladd 

Thayer,  Abbot  H. 

Trumbull,  John 

Vedder,  Elihu 

Walden,  Lionel 

Whistler,  James  Abbott  McNeill 


12 


Artz,  David  Adolphe  Constant 

Hals,  Frans 

Hobbema,  Meindert 

Hooch,  Pieter  de 

Israels,  Josef 

Mauve,  Anton 


Dutch 

Mesdag,  Henry  William 
Ostade,  Isaac  van 
Pieters,  Evert 
Potter,  Paul 
Rembrandt  van  Ryn 
Ruysdael,  Jacob  van 


English 

Alma-Tadema,  Sir  Laurens  (born  in       Leader,   Benjamin  William 


Holland) 
Boughton,  George  Henry 
Burne-Jones,  Sir  Edward 
Constable,  John 
Dicksee,  Margaret  Isabel 
Gainsborough,  Thomas 
Gow,  Andrew  C. 
Holiday,  Henry 
Kemp-Welch,  Lucy  Elizabeth 
Landseer,  Sir  Edwin  Henry 

Rubens,  Peter  Paul 


Leighton,  Lord  Frederic 
Leighton,  E.  Blair 
Millais,  Sir  John  Everett 
Moore,  Henry 
Reynolds,  Sir  Joshua 
Rosetti,  Dante  Gabriel 
Turner,  Joseph  Mallord  William 
Waterlow,  Sir  Ernest  Albert 
Watts,  George  Frederick 

Flemish 

Van  Dyck,  Anthony 


Adan,   Louis  fimile 

Bastien-Lepage,  Jules 

Bonheur,  (Marie)  Rosa 

Breton,  Jules  (Adolphe  Aime  Louis) 

Corot,  Jean  Baptiste  Camille 

Dagnan-Bouveret,     Pascal     Adolphe 

Jean 
David,  Jacques  Louis 
Detaille,  Jean  Baptiste  Edward 
Dupre,  Jules 
Dupre,  Julien 
Flandrin,  Hippolyte 

German 


French 

Greuze,  Jean  Baptiste 
Jacque,  Charles  fimile 
LeBrun,    Madame    Elizabeth    Louise 

Vigee 
Lerolle,  Henri 
Lhermitte,  Leon  Augustin 
Van  Marcke,  fimile 
Millet,  Jean  Frangois 
Regnault,  Alexandre  Georges 
Renouf,  fimile 
Troyon,  Constant 


Achenbach,  Oswald 
Barth,  Ferdinand 
Hoecker,   Paul 
Hofmann,  Heinrich 
Kuhnert,  Wilhelm 


Lauenstein,  Heinrich 
Leistikow,  W. 
Lins,  A. 
Richter,  Gustav 
Wagner,  Alexander 

Italian 

Botticelli,  Sandro  (real  name,  Alles-       Maccari,  Cesare 

sandro  di  Mariano  Filipepi) 
Carpaccio,  Vittore 
Correggio   (real  name  Antonio  Alle 

gri) 
Guide  Reni 
Leonardo  da  Vinci 


Michelangelo  Buonarroti 

Palma  Vecchio,  Jacopo 

Perugino  (real  name.  Pietro  Vanucci) 

Raphael  Sanzio 

Titian  (real  name,  Tiziano  Vecellio) 


13 


Murillo,  Bartolome  Esteban 


Spanish 

Velasquez,  Don  Diego  Rodriguez  de 
Silva 


SCULPTORS  REPRESENTED 


French,  Daniel  Chester 


Donatello 


American 

St  Gaudens,  Augustus 

Danisjb 

Thorwaldsen,  Albert  Bertel 

French 

Chapu,  Henri  Michel 

German 
Vischer,  Peter 

Italian 

Michelangelo  Buonarroti 


CLASSIFICATION  OF  PAINTINGS  ACCORDING  TO  THE 
NATURE  OF  THE  SUBJECT 


Figures,  single  and  group 

Barth 

Choosing  the  Caskets 

Bastien-Lepage 

Joan  of  Arc 

Botticelli 

Allegory  of  Spring 

Botticelli 

Madonna,  two  paintings 

Breton 

The  Gleaner 

Breton 

Song  of  the  Lark 

Brush 

Mother  and  Child 

Burne-Jones 

Golden  Stairs 

Burne-Jones 

Hope 

Carpaccio 

Angel  Playing  the  Lute 

Correggio 

Marriage  of  St    Catherine 

Couse 

Taos  Indian 

Dagnan-Bouveret 

Madonna  of  the  Arbor 

Dicksee 

The  Child  Handel 

Dicksee 

A  Sacrifice  of  Vanities 

Dicksee 

Swift  and  Stella 

Flandrin 

Youth 

Gardner 

Two  FamiHes 

Greuze 

Broken  Pitcher 

Guido  Reni 

St  Michael  and  the  Dragon 

Hals 

The  Laughing  Cavalier 

Hofmann 

Christ  in  the  Temple 

Holiday 

Dante  and  Beatrice 

14 


Figures,  single  and  group  —  continued 


Hunt 

The  Belated  Kid 

Lauenstein 

Cradle  Song 

Le  Brun 

Portrait  of  Herself  and  Daughter 

(two  paintings) 

Michelangelo 

Delphic   Sibyl 

Michelangelo 

Libyan  Sibyl 

Michelangelo 

Prophet  Jeremiah 

Millais 

Boyhood  of  Raleigh 

Millet 

Angelus 

Millet 

Feeding  Her  Birds 

Millet 

The   Gleaners 

Millet 

Peasant  Girl  and  Her  Cow 

Millet 

Shepherdess   (two  paintings) 

Murillo 

(Six  paintings) 

Palma  Vecchio 

St  Barbara 

Raphael 

(Seven  paintings) 

Rembrandt 

The  Syndics 

Remington 

Picture  Writing 

Renouf 

Helping  Hand 

Rosenthal 

Trial  of  Constance  de  Beverley 

Rossetti 

(Two  paintings) 

Rubens 

Sons  of  the  Artist 

Sargent 

Oyster  Gatherers 

Simmons 

Justice 

Sully 

The  Torn  Hat 

Taylor 

The  Children's  Hour 

Taylor 

Hiawatha  and  Minnehaha 

Thayer 

Caritas 

Titian 

Flora 

Titian 

Virgin  and  Angels 

Vedder 

Cumaean   Sibyl 

Velasquez 

Don  Carlos   (two  paintings) 

Velasquez 

Forge  of  Vulcan 

Portraits 

David 

Napoleon 

Gainsborough 

(Two  paintings) 

Leonardo  da  Vinci 

Mona  Lisa 

Rembrandt 

Portrait   of   His    Mother 

Rembrandt 

Portrait  of  Himself   (two  paintings) 

Reynolds 

(Six  paintings) 

Richter 

Queen  Louise 

Rubens 

Sons  of  the  Artist 

Stuart 

George  Washington 

Van  Dyck 

(Three  paintings) 

Van  Dyck  (after) 

Baby  Stuart 

Whistler 

Portrait  of  the  Artist's  Mother 

Whistler 

Portrait  of  Carlyle 

15 


Genre 

Adan 

End  of  the  Day 

Artz 

At  Grandmother's 

Dupre,  Julien 

The  Balloon 

Hitchcock 

Flower  Girl  in  Holland 

Homer 

All's  Well 

Homer 

The  Fog  Warning 

Hooch 

A  Dutch  Living  Room 

Israels 

Sailors  of  the  Sea 

Israels 

A  Toiler  of  the  Sea 

Lhermitte 

Haymakers 

Lins 

Village  Choir 

Millet 

Angelus 

Millet 

Feeding  Her  Birds 

Millet 

The  Gleaners 

Millet 

Peasant  Girl  and  Her  Cow 

Millet 

Shepherdess    (two  paintings) 

Ostade 

The  Village  Inn 

Pieters 

Little  Brother 

Landscape  and  scenery 

Church 

Niagara  Falls 

Constable 

The  Cornfield 

Corot 

(Seven  paintings) 

Davis 

Evening 

Dupre,  Jules 

Twilight 

Hobbema 

(Two  paintings) 

Inness 

(Two  paintings) 

Kuhnert 

Approaching  Storm 

Leader 

(Three  paintings) 

Leistikow 

Lake  in  the  Woods 

Lerolle 

By  the  River 

Lerolle 

The  Shepherdess 

Martin 

View  on  the  Seine 

Millet 

Church  at  Greville 

Rembrandt 

The  Mill 

Ruysdael 

(Three  paintings) 

Animals 

Bonheur 

Deer  in  the  Forest 

Bonheur 

Harvesting   the   Hay 

Bonheur 

Horse  Fair 

Dupre,  Julien 

The  Runaway  Cow 

Hoecker 

Girl  with  a  Cat 

Hunt 

The  Belated  Kid 

Jacque 

In  the  Pasture 

Kemp-Welch 

Colt  Hunting  in  the  New  Forest 

Landseer 

Dignity  and  Impudence 

i6 


Animals  —  concluded 


Landseer 

Landseer 

Lerolle 

Marcke 

Mauve 

Mauve 

Potter 

Troyon 

Waterlow 


A  Distinguished  Member  of  the  Humane 

Society 
Shoeing 
Shepherdess 
(Two  paintings) 
Autumn 
Spring 
The  Bull 
(Three  paintings) 
The  Nursery 


Homer 

Israels 

Mesdag 

Moore 

Renouf 

Turner 

Walden 


Marine 

Fog  Warning 
Sailors  of  the  Sea 
(Two  paintings) 
Clearness  after  Rain 
Helping  Hand 
The  Fighting  Temeraire 
Out  for  a  Sail 


Boughton 

Detaille 

Gow 

Leutze 

Maccari 

Trumbull 


Historical 

Puritans  Going  to  Church 

Soldier's  Dream 

Washington's  Farewell  to  the  Army 

Washington  Crossing  the  Delaware 

Cicero  Denouncing  Catiline 

Signing  the  Declaration  of  Independence 


Mythological  and  legendary 


Abbey 

Alma-Tadema 

Guido  Reni 

Leighton,  E.  Blair 

Leighton,  Lord 

Michelangelo 

Michelangelo 

Raphael 

Regnault 

Velasquez 

Vedder 

Watts 


Holy  Grail  pictures 

Reading  from  Homer 

Aurora 

The  Age  of  Chivalry 

Captive  Andromache 

Delphic  Sibyl 

Libyan  Sibyl 

School  of  Athens 

Automedon  with  the  Horses  of  Achilles 

Forge  of  Vulcan 

Cumaean  Sibyl 

Sir  Galahad 


17 


ADAPTATION  FOR  PARTICULAR  GRADES 

The  following  pictures  in  the  collection  are  appropriate  for  use 
in  the  kindergarten  and  first  three  grades.  Many  of  them  are 
equally  suitable  for  higher  grades  and  some  of  them  could  be  used 
with  propriety  in  the  high  school. 


Artz 

Brush 

Carpaccio 

Couse 

Dagnan-Bouveret 

Dicksee 

Dicksee 

Dupre,  Julien 

Gardner 

Hoecker 

Hooch 

Israels 

Landseer 

Landseer 

Lauenstein 

Le  Brun 

Lins 

Millet 

Murillo 

Murillo 

Pieters 

Raphael 

Raphael 

Renouf 

Reynolds 

Reynolds 

Reynolds 

Reynolds 

Reynolds 

Reynolds 

Sully 

Taylor 

Thayer 

Troyon 

Van   Dyck 

Van  Dyck  (after) 

Walden 

Waterlow 


At  Grandmother's 
Mother  and  Child 
Angel  Playing  Lute 
Taos  Indian  Roastitig  Corn 
Madonna  of  the  Arbor 
The  Child  Handel 
A  Sacrifice  of  Vanities 
The  Escaped  Cow 
Two  Families 
Girl  with  a  Cat 
A  Dutch  Living  Room 
A  Toiler  of  the  Sea 
Dignity  and  Impudence 
A  Distinguished  Member  of  the  Hu- 
mane Society 
Cradle  Song 

Artist  and  Her  Child  (2) 
Village  Choir 
Feeding  Her  Birds 
Children  of  the  Shell 
Divine  Shepherd 
Little  Brother 
Madonna  of  the  Chair 
Sistine  Madonna 
Helping  Hand 
Age  of  Innocence 
Angel  Heads 
Lady  Crewe 
Master  Crewe 
Miss  Bowles 
Strawberry  Girl 
The  Torn  Hat 
The  Children's  Hour 
Caritas 

Return  to  the  Farm 
Three  Children  of  Charles  I 
Baby  Stuart 
Out  for  a  Sail 
The  Nursery 


i8 


Pictures  appropriate  for  grades  4-8.  Those  marked  with  an 
asterisk  are  probably  less  suitable  for  grades  4-6  than  for  the 
seventh  and  eighth  grades  and  may  also  be  used  in  the  high  school. 


♦Abbey 

Adan 

Bonheur 

Bonheur 

Bonheur 

Botticelli 

Boughton 

Breton 

Breton 

♦Burne-Jones 

Church 

Constable 

Corot 

*Correggio 

Davis 

*Detaille 

Dupre,  Jules 

Dupre,  Julien 

Dupre,  Julien 

Farny 

Gainsborough 

Gow 

Greuze 

Guido  Reni 

Hitchcock 

Hobbema 

Hofmann 

Homer 

Homer 

Hunt 

*Hunt 

Inness 

Inness 

Israels 

Jacque 

Kemp-Welch 

Kuhnert 

Lands  eer 

Leader 

Lerolle 

Lerolle 

Leutze 

Lhermitte 

Van  Marcke 


Paintings 

Holy  Grail  pictures 

End  of  the  Day 

Deer  in  the  Forest 

Hay-making  in  Auvergne 

The  Horse  Fair 

Madonna  and  Child  with  St  John 

Puritans  Going  to  Church 

The  Gleaner 

Song  of  the  Lark 

Golden  Stairs 

Niagara  Falls 

The  Cornfield 

Landscapes 

Marriage  of  St  Catherine 

Evening 

The  Dream 

Twilight 

The  Balloon 

Drinking  Trough 

Song  of  the  Talking  Wire 

Blue  Boy 

Washington's  Farewell  to  His  Generals 

The  Broken  Pitcher 

Aurora 

Flower  Girl  in  Holland 

Watermill 

Christ  in  the  Temple 

All's  Well 

The  Fog  Warning 

The  Belated  Kid 

The  Flight  of  Night 

Autumn  Oaks 

Medfield  Meadows 

Sailors  of  the  Sea 

In  the  Pasture 

Colt  Hunting  in  the  New  Forest 

Approaching  Storm 

Shoeing 

Landscapes 

By  the  River 

Shepherdess 

Washington  Crossing  the  Delaware 

Haymakers 

At  the  Water  Gate 


19 


Paintings  —  continued 


Van  Marcke 

Martin 

Mauve 

Mauve 

Mesdag 

Mesdag 

Millais 

Millet 

Millet 

Millet 

Millet 

Millet 

Moore 

Murillo 

Murillo 

Murillo 

Potter 

Raphael 

Raphael 

♦Rembrandt 

Remington 

Rubens 

Ruysdael 

Ruysdael 

Ruysdael 

*Sargent 

Sargent 

Taylor 

Troyon 

Troyon 

Trumbull 

♦Turner 

Van  Dyck 

Velasquez 

Velasquez 

Wagner 

Watts 


Golden  Autumn  Day 

View  on  the  Seine 

Autumn 

Spring 

Night 

Return  of  the  Fishing  Boats 

Boyhood  of  Raleigh 

The  Angelus 

The  Gleaners 

Peasant  Girl  and  Her  Cow 

Shepherdess 

Shepherdess  Knitting 

Clearness  after  Rain 

Holy  Family 

Melon  Eaters 

St  John  and  the  Lamb 

The  Young  Bull 

Madonna  of  the  Fish 

Madonna  of  the  Grand  Duke 

The  Mill 

Picture  Writing 

Two  Sons  of  the  Artist 

A,  Morass 

Landscape  with  Mill 

A  Wooded  Landscape  with  Waterfall 

Frieze  of  the  Prophets 

Oyster  Gatherers 

Hiawatha  and  Minnehaha 

October  Wood 

Oxen  Going  to  Labor 

Signing  the  Declaration  of  Independence 

Fighting  Temeraire 

William  H  of  Nassau 

Equestrian  Portrait  of  Don  Carlos 

Don  Carlos  in  Hunting  Costume 

Chariot  Race 

Sir  Galahad 


St  Gaudens 
St  Gaudens 
Vischer 


Sculpture 

■  Lincoln  Statue 
Shaw  Memorial 
King  Arthur 


Abbotsford 
Mount  Vernon 
Stratford  Views 
Shakspere  House 


Buildings 

Anne  Hathaway's  Cottage 
Grand  Canal 
Capitol,  Washington 


20 


Natural  scenery 
All  of  the  views  listed  under  this  head 


Burroughs 
Lincoln 
Longfellow 
Marshall 


Portraits 
Scott 
Shakspere 
Washington 


Pictures  especially  appropriate  for  high  school 


Achenbach 

Alexander 

Alexander 

Alma-Tadema 

Alma-Tadema 

Barth 

Bastien-Lepage 

Botticelli 

Botticelli 

Burne-Jones 

David 

Dicksee 

Flandrin 

Gainsborough 

Guido  Reni 

Hals 

Hobbema 

Holiday 

Leighton,  Lord 

Leighton,  E.  Blair 

Leistikow 

Leonardo  da  Vinci 

Maccari 

Michelangelo 

Michelangelo 

Michelangelo 

Millet 

Murillo 

Ostade 

Palma  Vecchio 

Perugino 

Raphael 

Raphael 
Raphael 
Regnault 
Rembrandt 


Paintings 

On  the  Tiber 

Manuscript  Book 

Isabella,  or  the  Pot  of  Basil 

A  Reading  from  Homer 

Spring 

Choosing  the  Caskets 

Joan  of  Arc 

Allegory  of  Spring 

Head  of  Madonna 

Hope 

Napoleon  Crossing  the  Alps 

Swift  and  Stella 

Study  —  Youth 

Mrs  Siddons 

Archangel  Michel 

Laughing  Cavalier 

The  Avenue,  Middelharnis 

Dante  and  Beatrice 

Captive  Andromache 

Chivalry 

Lake  in  the  Woods 

Mona  Lisa 

Cicero  Denouncing  Catiline 

Delphic  Sibyl 

Libyan  Sibyl 

Prophet  Jeremiah 

Church  at  Greville 

St  Anthony  of  Padua 

Village  Inn 

Santa  Barbara 

Head  of  Madonna 

Archangel  Michael  Striking  Satan  to  the 

Ground 
School  of  Athens 
Transfiguration 

Automedon  with  the  Horses  of  Achilles 
Portrait  of  the  Artist   (2) 


21 


Paintings  —  continued 

Rembrandt 

Portrait  of  His  Mother 

Rembrandt 

The  Syndics 

Richter 

Queen  Louise 

Rosenthal 

Trial  of  Constance  de  Beverley 

Rosetti 

The  Blessed  Damozel 

Rosetti 

Dante's  Dream 

Simmons 

Justice 

Titian 

Flora 

Titian 

Virgin   and   Angels,    detail   of   the  As- 

sumption 

Van  Dyck 

Charles  I  of  England 

Vedder 

Cumaean   Sibyl 

Vedder 

Samson 

Velasquez 

Forge  of  Vulcan 

Whistler 

Portrait  of  Carlyle 

Whistler 

The  Artist's  Mother 

Sculpture 

All  the  pictures  of  Greek  and  Roman  sculpture 
Chapu  Jeanne  d'Arc 


Donatello 

French 

French 

Michelangelo 

Michelangelo 

Thorwaldsen 


St  George 

Alice  Freeman  Palmer  Memorial 

Alma  Mater 

David 

Moses 

Lion  of  Lucerne 


Nearly  all 


Buildings 


Bell 
Darwin 
Edison 
'Faraday 


Portraits 

Humboldt 
Marconi 
Spencer 
Tennyson 


22 


LIST  OF  WALL  PICTURES 

Unless  otherwise  specified,  the  frame  is  the  same  color  as  the 
print.  The  size  of  both  the  original  painting  and  the  reproduction 
listed  is  given  in  inches,  the  vertical  dimension  standing  first.  The 
size  given  for  each  picture  in  this  loan  collection  includes  the  frame. 

PAINTINGS 
Edwin  Austin  Abbey  (1852-1911) 

References:     Caffin,  p.  .83-98;  *Caffin,  p.  190-97;  Hartmann,  v.  2,  p.  108-9; 

Isham,  p.  418-27,  547;  McSpadden,  p.  301-26 
Quest  of  the  Holy  Grail,  a  series  of  15  paintings  on  the  wall  of  the  delivery 

room  of  the  public  library  of  the  city  of  Boston.     The  pictures  are  all 

eight  feet  high,  but  vary  considerably  in  length. 
References:      Baxter ;    Description    of    Mural    Decorations    in    the    Boston 

Public  Library,  p.  9-16;  Greenslet;  Handbook  of  Boston  Public  Library, 

p.  41-46;  King,  p.  110-23;  tSingleton,  p.  265-71 
The  following  panels  are  represented  in  this  collection  : 

(i)  The  Vision,  (2)  The  Oath  of  Knighthood,  (3)  The  Round  Table  of 

King  Arthur,    (4)   The  Departure,    (5)    The  Castle  of  the  Grail,    (12) 

Galahad  the  Deliverer. 

Platinum  prints  of  the  first  five  panels,  in  gray,  framed  in  black,  15  x  117 

Platinum  prints  of  the  first  four  panels,  in  gray,  framed  in  black,  14  x  72 

Platinum  print  of  The  Oath  of  Knighthood,  in  sepia,  21  x  27 

Sepia  bromide  print  of  The  Oath  of  Knighthood,  31  x  41 

Sepia  bromide  print  of  The  Oath  of  Knighthood,  34  x  45 

Platinum  print  of  The  Round  Tab^e  of  King  Arthur,  in  sepia,  23  x  54 

Platinum  print  of  Galahad  the  Deliverer,  in  sepia,  37  x  31 

Oswald  Achenbach  (1827-1905) 
On  the  Tiber 

Color  print,  in  brown  frame,  30  x  38.     Best  when  viewed  at  a  distance. 

Louis  Emile  Adan  (1839-        ) 
End  of  the  Day 

Brown  carbon,  27  x  38 

John  W.  Alexander  (1856-         ) 

References:     Addison,  p.  47;  Hartmann,  v.  2,  p.  173-76;  Isham,  p.  526-29 

Isabella,  or  the  Pot  of  Basil.     Size  jsVa  x  ZSVa-     Museum  of  Fine  Arts, 

Boston 
Reference:     School  Arts,  Sept.  1912,  p.  23-26 

Sepia  bromide  print,  44  x  24 

Manuscript  Book.      The  fifth  panel  of  the  series  of  the  Evolution  of  the 
Book,  in  a  tympanum.     East  Corridor,  Library  of  Congress,  Washington 
Reference:     Small,  p.  2)3 

Sepia  bromide,  30  x  46 


23 

Sir  Laurens  Alma-Tadema  (1836-1912) 

References:  Chesneau,  p.  263-65;  Monkhouse,  p.  193-229;  Muther,  v.  3, 
p.  348-53;  Pythian,  p.  289-90;  Rooses,  v.  3,  p.  141;  fSingleton,  p.  232-36; 
♦Wilson,  p.  119-22 

A  Reading  from  Homer.     Owned  by  W.  B.  Elkins,  Philadelphia 

Black  and  white  photogravure,  24  x  40 

Spring 

Brown  carbon,  55  x  29 

David  Adolphe  Constant  Artz  (1837-         ) 

References:     Muther,  v.  4,  p.  95 ;  Rooses,  v.  3,  p.  139-54 
At  Grandmother's 

Brown  photogravure,  26  x  20 

Ferdinand  Barth  (1842-         ) 
Choosing  the  Caskets  (scene  from  The  Merchant  of  Venice) 

Brown  photogravure,  28  x  38 

Jules  Bastien-Lepage   (1846-84) 

References:  Eaton,  p.  317-18;  Masters  in  Art,  Dec.  1908;  Muther,  v.  3, 
P-  255-70;  Pythian,  p.  194-95;  tSingleton,  p.  238-43;  Stranahan,  p.  466-71 ; 
*Van  Dyke,  p.  227-34;  Wilson,  p.  148-59 

Joan  of  Arc.  Size  98  x  109,  date  1879.  Metropolitan  Museum  of  Art,  New 
York 

Brown  carbon,  31  x  34 

(Marie)  Rosa  Bonheur  (1822-99) 

References:  Barstow,  p.  65-73;  Eaton,  p.  230-32;  Masters  in  Art,  Aug.  1903; 
Muther,  v.  2,  p.  357-58;  fSingleton.  p.  169-74;  Stranahan,  p.  294-98; 
*Wilson,  p.   137-42 

Deer  in  the  Forest  —  Twilight.  Size  25^4x313^^,  date  1883.  Metropolitan 
Museum  of  Art,  New  York 

Brown  carbon,  33  x  40I 
Green  carbon,  22  x  27 

Hay  Making  in  Auvcrgne.     Luxembourg  Museum,  Paris 

Brown  carbon,  22  x  375 

The  Horse  Fair.  Oil  painting,  size  93J/2  x  197,  date  1853-55.  Metropolitan 
Museum,  New  York ;  a  replica  in  National  Gallery,  London  (quarter  the 
size  of  the  original)  ;  two  other  replicas,  one  of  which  is  in  water  colors 

Brown  carbon,  24^  x  44,  National  Gallery,  London 

Brown  carbon,  24  x  43,  Metropolitan  Museum  of  Art,  New  York 

Sandro  Botticelli  (i447?-i5io) 

References:  Bryant,  p.  48-49;  Kugler,  p.  153-57;  Masters  in  Art,  May  1900; 
Potter,  p.  50-53;  *Singleton,  p.  312-17;  Wilson,  p.  67-68 

Allegory  of  Spring.     Academy  of  Fine  Arts,  Florence,  Italy 

Brown  carbon,  26  x  37 


24 
Madonna  and  Child  with  St  John.    Size  about  zi  x  27.    Louvre,  Paris 

Dark  green  carbon  in  black  frame,  39  x  29^ 

Head  of  the  Madonna.  Detail  of  Madonna  and  Child,  St  John  the  Baptist 
and  an  Angel.  Circular  painting  on  wood,  ZZ  inches  in  diameter. 
National  Gallery,  London 

Brown  carbon,  26x21 

George  Henry  Boughton  (i 834-1 905) 

References:    Hartmann,  v.  2,  p.  211;  Isham,  p.  345;  Muther,  v.  3,  p.  371-73 
Puritans  Going  to  Church.     Size  28x51,  date  1867.     Picture  Gallery,  New 
York  Public  Library,  New  York 

Brown  carbon,  27  x  44 

Jules  (Adolphe  Aime  Louis)  Breton  (1827-1906) 

References:  Bryant,  p.  148;  Caffin,  p.  339-40;  Eaton,  p.  251-53;  Masters  in 
Art,  Oct.  1907;  Muther,  v.  2,  p.  219-20;  Stranahan,  p.  382-86;  Wilson, 
p.  202-5;  *Wilson,  p.  3-7 

The  Gleaner.     Size  about  72  x  36,  date  1877.    Luxembourg  Museum,  Paris 

Brown  carbon,  38  x  42 

The  Song  of  the  Lark.    Size  44  x  zzV^-    The  Art  Institute,  Chicago 

Brown  carbon,  38  x  30^ 

George  de  Forest  Brush  (1855-         ) 

References:  Caffin,  p.  129-40;  *Caffin,  p.  174-81;  Hartmann,  v.  i,  p.  262-71; 
Isham,  p.  491-92;  School  Arts,  Dec.  1912,  p.  227-30 

Mother  and  Child.  A  circular  painting  about  40  inches  in  diameter,  date 
1895.     Museum  of  Fine  Arts,  Boston 

Brown  carbon,  framedjwith  a  mat,'26  x'26 

Sir  Edward  Burne-Jones    (1833-98) 

References:  Cox,  p.  176-82;  Masters  in  Art,  July  1901 ;  Muther,  v.  3,  p.  176- 
93;  Pythian,  p.  175-80;  *Wilson,  p.  124-26,   129 

The  Golden  Stairs 

Reference:     School  Arts,  April  1909,  p.  795-800 

Brown  carbon,  39^  x  21 

Hope 

Sepia  bromide  print,  76  x  32 
Sepia  bromide  print,  70  x  30 

Vittore  Carpaccio  (1450?-!  522?) 

References:    Kugler,  p.  319-23;  Masters  in  Art,  July  1903 

Angel  Playing  Lute.  Detail  of  Presentation  of  Jesus  in  the  Temple. 
Academy  of  Fine  Arts,  Venice,  Italy 

Brown  carbon,  26  x  22 
Brown  photogravure,  26  x  22 


^5 

Frederick  Edwin  Church  (1826-1900) 

References:    Hartmann,  v.  i,  p.  70-74;  Isham,  p.  248-51;  Tytler,  p,  346-52 

Niagara  Falls  (Horseshoe  Fall  from  the  Canadian  shore  near  Table  Rock). 
Size  42  X  89,  date  1857.     Corcoran  Gallery  of  Art,  Washington 

Green  carbon,  26  x  46 

John  Constable   (i  776-1837) 

References:  Barstow,  p.  83-88;  Chesneau,  p.  136-4S;  Masters  in  Art,  May 
1906 

The  Cornfield,  or  Country  Lane.  Size  56  x  48,  date  1826.  National  Gallery, 
London 

Brown  carbon,  31  x  26.     This  picture  should  be  seen  at  a  distance. 

Jean  Baptiste  Camille  Corot  (i  796-1875) 

References:  Barstow,  p.  102-10;  tCaffin,  p.  131-36;  Eaton,  p.  145-48;  Masters 
in  Art,  June  1901 ;  Muther,  v.  2,  p.  z^7-2,7)  Potter,  p.  339-44,  388-90; 
Stranahan,  p.  234-41;  *Van  Dyke,  p.  107-16;  *Wilson,  p.  154,  162-70 

Castle  Gondolfo.    Louvre,  Paris 

Brown  carbon,  32  x  38 

The  Crossing 

Brown  carbon,  28  x  37 
Brown  carbon,  18  x  24 

Dance  of  the  Nymphs  —  Morning.  Size  about  39x52,  date  1850,  Louvre, 
Paris 

Color  print  in  green  frame,  30  x'37 
Brown  carbon,  32  x  42 
Brown  carbon,  26  x  32 
Brown  carbon,  20  x  24 

The  Lake 

Brown  carbon,  32  x  37 

Around  the  Lake.     Museum,  Rheims,  France 

Brown  carbon,  38  x  30 

•  Spring,  or  The  Lake.    Size  about  26  x  39.    Louvre,  Paris 
Reference:     School  Arts,  May  1909,  p.  915-19 

Color  print  in  green  frame,  29  x]37 

Brown  carbon,  32  x  40 

Brown  carbon,  29  x  37 

Brown  carbon,  24  x  32 

Dark  gray  green  carbon  in  black  frame,  29  x  38 

Ville  d'Avray 

Brown  carbon,  25  x  31 

Antonio  AUegri,  called  Correggio  (1494-1534) 

References:  Barstow,  p.  163-69;  Bryant,  p.  125-26;  Clement,  p.  7Z-7^\ 
Kugler,  p.  626-37 ;  Masters  in  Art,  Dec.  1901 ;  Potter,  p.  257-58 

Marriage  of  St  Catherine.     Size  about  41  x  43.    Louvre,  Paris 

Brown  carbon,  33  x  32 


26 

E.  Irving  Couse  (1866-         ) 
Taos  Indian  Roasting  Corn 

Color  print,  in  brown  frame,  20  x  27 

Pascal  Adolphe  Jean  Dagnan-Bouveret  (1852-         ) 

References:    Eaton,  p.  320-21;  Muther,  v.  3,  p.  281-84;  *Van  Dyke,  p.  239-48; 
Wilson,  p.  64-67 

Madonna  of  the  Arbor 

Brown  carbon,  38  x  28 

Jacques  Louis  David  (i  748-1 825) 

References:     tCaffin,  p.  91-99;   Muther,  v.  p.   102-12;    Stranahan,  p.   141-48 
Napoleon  Crossing  the  Alps.    Date  1805.     Museum,  Versailles,  France 

Brown  carbon,  22  x  20 

Charles  J.  Davis  (1858-         ) 

References:     Hartmann,  v.  i,  p.  86-90;  Isham,  p.  450 

Evening.     Size  38  x  57.     Metropolitan  Museum  of  Art,  New  York 
Brown  carbon,  20  x  26 

Jean  Baptist  Edward  Detaille  (1848-         ) 

References:      Bryant,    p.    148;    Eaton,    p.   293-98;    Muther,    v.    2,    p.    111-12; 
Stranahan,  p.  445-47 

The  Soldier's  Dream.     Date  1888.    Luxembourg  Museum,  Paris 

Gray  bromide  print,  37  x  47 

Margaret  Isabel  Dicksee 
The  Child  Handel 

Brown  carbon,  29  x  36 

Dark  brown  photogravure,  23  x  28 

Sacrifice  of  Vanities   (Goldsmith's  Vicar  of  Wakefield) 

Gray  photogravure,  23  x  28 

Swift  and  Stella 

Brown  carbon,  29  x  36 
Brown  photogravure,  22  x  27 

Jules   Dupre    (1811-89) 

References:      Eaton,   p.    155-56;    Muther,   v.   2,   p.   337-40;    Pythian,    p.   64; 
Stranahan,  p.  248-50 

Twilight.     Picture  Gallery,  Grand  Chateau,  Chantilly,  France 

Brown  carbon,  30  x  38 

Julien  Dupre  (1851-         ) 

Reference:     Wilson,  p.  26-28 

The  Balloon.     Size  96  x  78,  date  1886.     Metropolitan  Museum  of  Art,  New 
York 

Brown  carbon,  39  x  33 


27 

Drinking  Trough 

Brown  carbon,  30  x  37 

The  Runaway  Cow.     Luxembourg  Museum,  Paris 

Brovm  carbon,  18  x  23 

Henry  F.  Farny   (1847-         ) 
Song  of  the  Talking  Wire.    Taft  Collection,  Cincinnati,  O. 

An  Indian  wrapped  in  his  blanket  and  with  gun  in  his  hand  is 
standing  with  ear  against  a  telegraph  pole ;  the  ground  is  covered 
with  snow. 

Gray  photogravure,  17  x  26 

Hippolyte  Flandrin  (1809-64) 

References:      Eaton,    p.    209-12;    Muther,    v.    i,    p.    258-59;    Potter,    p.    351; 
Stranahan,  p    283-87 

Study  —  Youth.     Size  39  x  49.     Louvre,  Paris 

Near  the  sea  on  a  rocky  height  a  nude  figure  of  a  youth  is  seated 
with  head  resting  on  his  knees  and  arms  crossed  around  his  legs. 
Especially  appropriate  for  a  drawing  classroom. 

Brown  carbon,  i6  x  23 

Thomas  Gainsborough  (1727-88) 

References:     Bryant,  p.  163-64,  172-72,;  Chesneau,  p.  31-40;  Masters  in  Art, 
Nov.  1901 ;  Muther,  v.  i,  p.  24-27;   Singleton,  p.  150-56 

The  Blue  Boy.     The  Grosvenor  House,  London 

Brown  carbon,  38  x  28 
Brown  photogravure,  24  x  18 

Mrs  Siddons.     Size  49^  x  39.     National  Gallery,  London 

Brown  carbon,  37  x  31 

Elizabeth  Gardner  (1851-         ) 

{wife  of  William  A.  Bouguereau) 
Two  Families 

Brown  carbon,  24  x  19 

Andrew  C.  Gow  (1848-         ) 
Washington's  Farewell  to  His  Generals 

Dark  brown  photogravure,  26  x  42 

Jean  Baptiste  Greuze  (1725-1805) 

References:     Eaton,  p.  31-36;  Masters  in  Art,  Feb.  1904;  Muther,  v.  i,  p.  60- 
63;  Potter,  p.  303;  *Singleton,  p.  280-81 

The  Broken  Pitcher.     Size  43x34  (oval).     Louvre,  Paris 

Brown  carbon,  with  brown  mat,  27  x  25 


28 


Guido  Reni  (i 575-1 642) 

■References:      Bryant,    p.    23-25;    Clement,    p.    232-34;    *Kugler,    p.    660-64; 
Masters  in  Art,  Sept.  1903 

The  Archangel  Michel.    Church  of  Santa  Maria  della  Concezione,  Rome 

Brown  carbon,  38  x  28 

Aurora.    On  the  ceiling  of  a  summer  house  in  the  garden  of  the  Rospigliosi 

Palace,  Rome 
References:     *Singleton,  p,  114-17;  *Wilson,  p.  186-90 

Brown  carbon,  34  x  S3 

Frans  Hals  (1584?-! 666) 

References:     Cox,  p.  104-14;  Kugler,  p.  350-54;  Masters  in  Art,  Nov.  1900; 
Van  Dyke,  p.  17-25 

The  Laughing  Cavalier.     Size  ^z  x  28.    The  Wallace  Collection,  London 

Brown  photogravure,  31  x  26 

George  Hitchcock  (1850-      ) 

Reference:     Hartmann,  v.  2,  p.  205-6 

Flower  Girl  in  Holland.     Size  31  x  s^Ya-    The  Art  Institute,  Chicago 

Brown  carbon,  27  x  43 

Meindert  Hobbema  (i 638-1 709) 

References:     Bryant,  p.  158-59;  Kugler,  p.  475-78;  *Singleton,  p.  88-92;  Van 

Dyke,  p.  131-34 
The  Avenue,  Middelharnis,  Holland.     Size  40H  x  55^^.     National  Gallery, 

London 

Brown  carbon,  29  x  37 
Brown  carbon,  33  x  42 

The  Water  Mill.    Ryks  Museum,  Amsterdam 

Brown  carbon,  40  x  SS 
Brown  carbon,  28  x  38 

Paul  Hoecker  (1854-         ) 

References:     Muther,  v.  4,  p.  381 ;  Wilson,  p.  10 
Girl  with  a  Cat 

Blue  carbon  in  black  frame,  26  x  17 

Heinrich   Hofmann   (1824-         ) 

References:     Bryant,  p.  97-98;  *  Wilson,  p.  62-64 

Christ  in  the  Temple.     Picture  Gallery,  Dresden,  Germany 

Brown  carbon,  32  x  41 
Brown  carbon,  26  x  33 

Henry  Holiday   (1839-         ) 
Dante  and  Beatrice.     Walker  Art  Gallery,  Liverpool,  Eng. 

Brown  photogravure,  28]x  37 


29 

Winslow  Homer  (1836-1910) 

References:  Addison,  p.  38-39;  Caffin,  p.  71-80;  *Caffin,  p.  22)Z-Z7',  Isham, 
P-  350-58;  McSpadden,  p.  169-89 

AlFs  Well.    Size  39^x30,  date  1896.     Museum  of  Fine  Arts,. Boston 

Brown  carbon,  30  x  24 

Qra-Y  platinum  print  in  black  frame,  24  x  20 

The  Fog  Warning.  Size  30  1/16  x  48  3/16,  date  1885.  Museum  of  Fine 
Arts,  Boston 

Green  carbon,  in  black  frame,  26  x  36 
Brown  carbon,  30  x  44 

Pieter  de   Hooch   (1632-81) 

References:     Kugler,  v.  2,  p.  385-87;  Masters  in  Art,  May  1902 

A  Dutch  Living-room.  Picture  Gallery,  Emperor  Frederick  Museum, 
Berlin 

Brown  carbon,  31  x  33 

William  Morris  Hunt   (1824-79) 

References:  Addison,  p.  28-36;  Caffin,  p.  125-34,  307-8;  Hartmann,  v.  i, 
p.  166-73;  Isham,  p.  309-15;  King,  p.  41-54;  Masters  in  Art,  Aug.  1908 

The  Belated  Kid.     Size  54^4  x  38^.    Museum  of  Fine  Arts,  Boston 

Brown  carbon,  36  x  28 

Flight  of  Night.  Sketch  (made  for  a  fresco  for  one  of  the  arches  of  the 
Assembly  chamber  of  the  New  York  State  Capitol).  Pennsylvania 
Academy  of  Fine  Arts,  Philadelphia 

Brown  carbon,  30  x  44 

Gray  bromide  print,  in  black  frame,  30  x  42 

George  Inness  (1825-94) 

References:  Caffin,  p.  3-15;  *Caffin,  p.  134-43;  Hartmann,  v.  i,  p.  94-100; 
Isham,  p.  255-62;  McSpadden,  p.  11 1-39;  Masters  in  Art,  June  1908; 
Muther,  v.  4,  p.  314-16 

Autumn  Oaks.     Size  20  x  29^.     MetropoHtan  Museum  of  Art,  New  York 

Brown  carbon,  27  x  37 

Medfield  Meadows 

Sepia  bromide  print,  30  x  40 

Josef  Israels  (1824-1911) 

References:    Muther,  v.  4,  p.  84-94;  Pythian,  p.  238-41 ;  Rooses,  v.  i,  p.  83-99 
Sailors  of  the  Sea.    The  Art  Institute,  Chicago 

Brown  carbon,  31  x  38 

A  Toiler  of  the  Sea 

A  fisherman  with  his  two  children,  one  on  his  arm,  the  other 
walking  by  his  side. 

Brown  photogravure,  26  x  20 


30 
Charles  Emile  Jacque  (1813-94) 

References:     Muther,  v.  2,  p.  359;  Stranahan,  p.  298-300 
In  the  Pasture.     Albright  Gallery,  Buffalo,  N.  Y. 

Brown  carbon,  31  x  43 

Lucy  Elizabeth  Kemp-Welch  (1869-         ) 
Colt  Hunting  in  the  New  Forest 

Brown  photogravure,  23  x  39 

Wilhelm  Kuhnert 
Approaching  Storm 

Brown  photogravure,  25  x  37 

Sir  Edwin  Henry  Landseer  (1802-73) 

References:      Barstow,    p.    58-65;    Bryant,    p.    165-66;    Chesneau,    p.   97-101, 
Hurll;  Muther,  v.  2,  p.  69-75 

Dignity  and  Impudence.     Size,  35]^2  x  273^.     National  Gallery,  London 

Brown  carbon,  33  x  26 
Gray  photogravure,  27  x  23 

A    Distinguished    Member    of    the     Humane    Society.      Size    42^^  x  55. 
National   Gallery  of  British  Art    (Tate  Gallery),  London 

Brown  carbon,  27  x  33 

■Shoeing  the  Bay  Mare.     Size  56  x  44.    National  Gallery,  London 

Brown  carbon,  41  x  33 

Heinrich  Lauenstein   (1855-         ) 

The  Cradle  Song.     Size  2o>^  x  66j^,  date  1888.     Drexel  Institute  of  Art, 
Philadelphia 

Brown  carbon,  27  x  43 

Benjamin  William  Leader  (1831-       ) 
Eventide 

Gray  photogravure,  23  x  34 

Silent  Evening  Hour 

Brown  photogravure,  26  x  37 

Solitude 

Brown  photogravure,  29  x  25 

Madame  Elizabeth  Louise  Vigee  LeBrun  (i  755-1842) 

References:      Bryant,   p.    131-32;    Eaton,   p.   45-47;    Masters   in    Art,    March 
1905;    Potter,  p.  315-16;   Stranahan,  p.   120-21;  Wilson,  p.  :^-y 

Madame  LeBrun  and  Her  Daughter.     Size  about  48  x  36     Louvre.  Paris 

Brown  carbon,  38  x  30 

Madame  LeBrun  (with  turban)  and  Her  Daughter.    Size  41  x  34.    Louvre, 
Paris 

Brown  carbon,  31  x  37 


31 

Frederic,  Lord  Leighton  (1830-96) 

References:  Masters  in  Art,  April  1908;  Monkhouse,  p  87-117;  Muther,  v.  3, 
p.  344-48;  Tytler,  p.  277-79 

Captive  Andromache.    Size  76  x  160.    Gallery,  Manchester,  Eng. 

Sepia  photogravure,  24  x  42 

Edmund  Blair  Leighton   (1853-         ) 
Chivalry:    God  Speed,  The  Accolade,  Dedication,  Vox  Populi 

Four  photogravures,  in  sepia,  in  one  frame,  28  x  74 

W.  Leistikow  (1865-         ) 
Lake  in  the  Woods 

Very  dark  green  photogravure  in  black  frame,  27  x  37 

Leonardo   da   Vinci   (1452-1519) 

References:  Barstow,  p.  135-46;  Bryant,  p.  122;  *Kiigler,  p.  394-409; 
Masters  in  Art,  Feb.  1901 ;  Potter,  p.  245-46;  School  Arts,  Oct.  1911, 
p.  134-41;  *Singleton,  p.  142-53;  *Wilson,  p.  73-80 

Mona  Lisa.     Size  about  30x21.     Louvre,   Paris 
Brown  carbon,  36  x  26 

Henri  Lerolle  (1848-        ) 

References:  Addison,  p.  108;  Eaton,  p.  319;  Stranahan,  p.  390;  Wilson, 
p.  42-44 

By  the  River.     Museum  of  Fine  Arts,  Boston 

Brown  carbon,  2,2,  x  23 

Shepherdess,  also  called  In  the  Country.     Luxembourg  Museum,  Paris 

Brown  carbon,  27  x  38 

Emanuel  Leutze   (1816-68) 

References:  *Caffin,  p.  105-6;  Hartmann,  v.  i,  p.  142-45;  Isham,  p.  292-96; 
Muther,  v.  4,  p.  288 

Washington  Crossing  the  Delaware.  Size  147x252,  date  1851.  Metropoli- 
tan Museum  of  Art,  New  York 

Brown  carbon,  27  x  41 

Leon  Augustin  Lhermitte  (1844-         ) 

References:     Eaton,  p.  311-12;  Muther.  v.  3,  p.  270;  Stranahan,  p.  389-90 
The  Haymakers,  or  Resting  from  Work 

Brown  carbon,  30  x  37 

A.  Lins 
The  Village  Choir 

Six  children  and  a  few  geese  form  the  choir.    They  are  parading 
in  a  village  street. 

Brown  carbon,  21  x  28 


32 

Cesare  Maccari   (1840-    .    ) 

Cicero  Denouncing  Catiline.     Fresco  in  the  reception  room  of  the  Palazzo 
del  Senato,  Rome 

Brown  carbon,  36  x  60 

Emile  Van  Marcke  (1827-91) 

References:     Muther,  v.  2,  p.  358;  Stranahan,  p.  301-2 

At  the  Water  Gate.    Layton  Art  Gallery,  Milwaukee,  Wis. 

Brown  carbon,  framed  close,  23  x  28 
Brown  carbon,  framed  with  margin,  27  x  33 
Gray  platintmi  print,  in  black  frame,  20  x  24 

Golden  Autumn  Day.    Size  2,^Ys>  x  22^.    The  Art  Institute,  Chicago 

Brown  carbon,  25  x  19 

Homer  D.  Martin   (1836-97) 

References:     Caffin,  p.  115-26;  *Caffin,  p.  203-13;  Isham,  p.  262-65 

View  on  the  Seine.     Size  28^^x40;  date  1895.     Metropolitan  Museum  of 
Art,  New  York 

Brown  carbon,  29  x  37 

Anton  Mauve   (1838-88) 

References:     Muther,  v.  4,  p.  loi ;  Pythian,  p.  241-42;  Rooses,  v.  3,  p.  SSS 
Autumn.     Size  25H  x  37.    Metropolitan  Museum  of  Art,  New  York 

Brown  carbon,  30  x  42 
Brown  carbon,  25  x  34 

Spring.     Size  22  x  35.     Metropolitan  Museum  of  Art,  New  York 

Brown  carbon,  28  x  41 

Henry  William  Mesdag  (i  831-1902) 

References:     Muther,  v.  4,  p.  101-2;  Rooses,  v.  2,  p.  35-58 

Night 

Fishing  boats  at  sea,  the  moon  breaking  through  heavy  clouds. 

Brown  carbon,  38  x  32 

Return  of  the  Fishing  Boats 

Brown  carbon,  24  x  20 

Michelangelo  Buonarroti  (1475-1564) 

References:      Barstow,    p.    179-89;    Bryant,    p.    11 ;    Cox,    p.    18-47;    Hurll; 
*Kugler,  p.  429-42;  *Wilson,  p.  80-87 

The  Delphic  Sibyl.     One  of  the  figures  painted  on  ceiling  of  the  Sistine 
Chapel.     Vatican,  Rome 

Brown  carbon,  43  x  33 
Brown  carbon,  38  x  32 
Brown  carbon,  27  x  21 

Libyan   Sibyl.     One  of  the  figures   painted  on  the  ceiling  of  the   Sistine 
Chapel.     Vatican,  Rome 

Brown  carbon,  49  x  41 
Brown  carbon,  27  x  21 


33 

The  Prophet  Jeremiah.  One  of  the  figures  painted  on  the  ceiling  of  the 
Sistine  Chapel.    Vatican,  Rome 

Brown  carbon,  38  x  32 

Sir  John  Everett  Millais  (1829-96) 

References:     Cox,  p.  165-75;  Monkhouse,  p.  47-82;  Muther,  v.  3,  p.  21-36 

The  Boyhood  of  Raleigh.  Size  47^  x  56,  date  1870.  National  Gallery  of 
British  Art   (Tate  Gallery),  London 

Brown  carbon,  28  x  32 

Jean  Frangois  Millet  (1814-75) 

References:  Addison,  p.  97-99;  Barstow,  p.  215-19;  Eaton,  p.  i6s-yy\ 
Hurll ;  Masters  in  Art,  Aug.  1900 ;  Muther,  v.  2,  p.  360-88 ;  Potter,  p.  355- 
60;  tSingleton,  p.  68-76;  Stranahan,  p.  364-75;  *Van  Dyke,  p.  179-95; 
Wilson,  p.  29-36,  134;  *Wilson,  p.  30-37,  106-9 

The  Angelus.    Size  21  x  25,  date  1859.    Louvre,  Paris 

Brown  carbon,  29  x  33  (practically  the  same  size  as  the  original  painting) 

The  Church  at  Greville.  Size  about  235^x29;  begun  in  1871,  unfinished. 
Louvre,  Paris 

Brown  photogravure,  21  x  25 

Feeding  Her  Birds,  or  La  Becquee.     Picture  Gallery,  Lille,  France 

Brown  carbon,  37  x  31 

The  Gleaners.     Size  about  35x62^.    Louvre,  Paris 

Brown  carbon,  32  x  42 

Peasant  Girl  and  Her  Cow 

Brown  carbon,  19  x  26 

The  Shepherdess.     Size  63^x51^4-     Museum  of  Fine  Arts,  Boston 

Sepia  bromide  print,  28  x  22 

Shepherdess  Knitting.    Louvre,  Paris 

Gray  green  carbon,  32  x  38 

Henry  Moore  (1831-         ) 

Reference:     Muther,  v.  3,  p.  396 
Clearness  after  Rain    (a  marine  painting) 

Green  photogravure,  27  x  37 

Bartolome  Esteban  Murillo  (1617-82) 

References:  Barstow,  p.  41-42;  Bryant,  p.  79-80,  100- 1 ;  Clement,  p.  157-58; 
Hurll;  Masters  in  Art,  Oct.  1900;  Potter,  p.  134-35;  Wilson,  p.  238 

Children  of  the  Shell.     Size  44^4  x  53^.     Prado  Museum,  Madrid 

Brown  carbon,  34  x  40 
Brown  carbon,  31  x  35 

The  Divine  Shepherd.     Prado  Museum,  Madrid 

Brown  carbon,''37  x  31 


34 

Holy  Family.     Size  about  96  x  75,  date  about  1670.     Louvre,  Paris 
References:     Singleton,  p.  41-46;  *Wilson,  p.  56-59 
Brown  carbon,  33  x  27 

Melon  Eaters.     Old  Pinakothek,  Munich 

Brown  carbon,  40  x  34 

St  Anthony  of  Padua  with  the  Holy  Child.     Size  64  x  yjY^.     Picture  Gal- 
lery, Emperor  Frederick  Museum,  Berlin 

Brown  carbon,  32  x  38 

St  John  and  the  Lamb.     Size  65  x  43.     National  Gallery,  London 

Brown  carbon,  42  x  30 

Isaac  Van  Ostade   (1621-49) 

Reference:     Kugler,  p.  421-23 
The  Village  Inn 

Brown  carbon,  35  x  31 

Jacopo  Palma,  known  as  Palma  Vecchio  (i 480-1 528) 

References:      Bryant,    p.    67-68;    Clement,    p.    58-59;    *Kugler,    p.    563-^; 
Masters  in  Art,  Feb.  1905;  School  Arts,  Mar.  191 1,  p.  541-44 

Santa  Barbara.     Central  panel  of  an  altar  piece.     Church  of  Santa  Maria 
Formosa,  Venice,  Italy 

Brown  carbon,  34  x  i8 

Pietro  Vanucci,  called  Perugino,   (i 446-1 542) 

References:     Cox,  p.  11-17;  *Kugler,  p.  231-38 

Head  of  Madonna,  Detail  of  Madonna  and  Saints.     Uffizi  Gallery,  Flor- 
ence, Italy 

Brown  carbon,  20  x  24 


Evert  Pieters  (1856-         ) 


Little  Brother 

Brown  carbon,  26  x  20 


Paul  Potter  (1625-54) 

References:  Bryant,  p.  1 16-17;  Kugler,  p.  435-40;  Masters  in  Art,  July 
1902;  Wilson,  p.  208-13 

The  Young  Bull.  Size  90x118,  date  about  1646-47.  Museum,  Hague, 
Holland 

Brown  carbon,  27  x  37 

Raphael  Sanzio  (1483-1520) 

References:     Hurll;  *Kugler,  p.  463-533;  Masters  in  Art,  Dec.  1900 

Madonna  della  Sedia,  or  Madonna  of  the  Chair.  Size  about  29  inches  in 
diameter,  date  about  1516.     Pitti  Gallery,  Florence,  Italy 

References:  Bryant,  p.  40-42;  School  Arts,  Feb.  191 1,  p.  422;  Singleton, 
p.  102-11 ;  Wilson,  p.  82-86 

Brown  carbon,  framed  with  mat,  35  x  35 

Brown  carbon  framed  with  mat,  32  x  32 


35 

Madonna  of  the  Fish.    The  Prado,  Madrid 
Reference:     Clement,  p.  154-56,  266-67,  299-303 

Brown  carbon,  38  x  30 

Madonna  of  the  Grand  Duke.     Pitti  Palace,  Florence,  Italy 
Reference:     Bryant,  p.  42 

Brown  carbon,  38  x  28 

Sistine  Madonna.     Size  about  108x84,  date  about  1515.     Picture  Gallery, 

Dresden,  Germany 
References:    Barstow,  p.  146-53;  Bryant,  p.  85-86;  Clement,  p.  58-59;  School 

Arts,  Dec.  1909,  p.  321-28;  ♦Singleton,  p.  45-57;  *Wilson,  p.  88-93 

Brown  carbon,  43  x  34 
Brown  carbon,  35  x  27 

The  Archangel   Michael   Striking   Satan  to  the   Ground.     Size   106x63, 

date  1 5 18.     Louvre,  Paris 
Reference:     Bryant,  p.  125;  Clement,  p.  232-34 

Brown  carbon,  26  x  18 

School  of  Athens.    Fresco  painting.    Stanza  della  Segnatura,  Vatican,  Rome 

^rown  carbon,  30  x  38 

The  Transfiguration.     Size  177x109^;  upper  part  in   1519,  finished  after 

his  death.     Picture  Gallery,  Vatican,  Rome 
References:     Bryant,  p.   19-20;   School  Arts,  Nov.  1910,  p.  245-50;   *Single- 

ton,  p.  249-55 
Brown  carbon,  38  x  28 

Alexandre  Georges  Henri  Regnault  (1843-71) 

References:      Eaton,  p.  280-82;  Muther,  v.  i,  p.  299-300;  Stranahan,  p.  321-25 

Automedon   with   the   Horses   of   Achilles.     Size   124  x  129^^,    date   1868. 
Museum  of  Fine  Arts,  Boston 

Brown  carbon,  35  x  36 

Rembrandt  van  Ryn  (1607-69) 

References:    Eaton,  p.  280-82;  Muther,  v.  i,  p.  299-300;  Stranahan,  p.  321-25 
in  Art,  June  1900;  Van  Dyke,  p.  29-42 

Portrait  of  Artist  When  about  28  Years  of  Age.    Uffizi  Gallery,  Florence, 

Italy 
Reference:     School  Arts,  Nov.  191 1,  p.  235-39 

Painting  proof  on  canvas,  32  x  27 

Portrait  of  the  Artist  When  about  32  Years  of  Age.     Size  39x31]^,  date 
1640.     National  Gallery,  London 

Brown  carbon,  37  x  31 

The  Mill.     Collection  of  P.  A.  B.  Widener,  Philadelphia 
Reference:     *Wilson,  p.  175-81 

Brown  carbon,  32  x  38 

Portrait  of  His  Mother.    The  Hermitage,  St  Petersburg 

Brown  carbon,  37  x  30 


36 

The  Syndics  of  the  Cloth  Hall.    Ryks  Museum,  Amsterdam 
Reference:     Bryant,  p.  iii;  Singleton,  p.  282-89 

Brown  photogravure,  42  x  S7 
Brown  carbon,  28  x  37 

Frederic  Remington  (1861-1909) 

Reference:    Isham,  p.  501 
Picture  Writing 

Sepia  bromide,  35  x  47 

Emile  Renouf  (1845-94) 

References:     Stranahan,  p.  456;  Wilson,  p.  206 

A  Helping  Hand.     Size  60  x  98,  date  1881.     The  Corcoran  Gallery  of  Art, 
Washington 

Brown  carbon,  25  x  34 

Sir  Joshua   Reynolds    (1723-92) 

References:     Barstow,  p.  47-50;  Chesneau,  p.  20-31;  Kuril;  Masters  in  Art, 
July  1900;  Singleton,  p.  290-93,  2,^3 

The  Age  of  Innocence.    Size  30  x  25.    National  Gallery,  London 
Reference:     School  Arts,  Nov.  1910,  p.  266-68 

Brown  carbon,  25  x  21 

Heads  of  Angels.    Size  295^  x  24^,  date  1787.    National  Gallery,  London 

Brown  carbon,  23  x  20 

Lady  Crewe.    Earl  of  Crewe  Collection,  London 

A  little  girl  in  a  black  cape  and  hood  with  a  basket  on  her  arm. 

Color  print,  26  x  21 

Master  Crewe.     Size  56x45.    Earl  of  Crewe  Collection,  London 
A  little  boy  in  the  costume  of  Henry  VIII 

Color  print,  26  x  21 

Miss   Bowles    ("Love   me,   love   my   dog").     Size  35^x27^,   date    1775. 
The  Wallace  Collection,  London 

Brown  photogravure,  31  x  26 

The  Strawberry  Girl.    Size  29^  x  24^.    The  Wallace  Collection,  London 

Brown  photogravure,  30  x  25 

Gustav  Richter  (1823-84) 

References:     Muther,  v.  i,  p.  333-34;  Wilson,  p.  145-46 
Queen  Louise.    Wallraf-Richartz  Museum,  Cologne,  Germany 

Dark  brown  photogravure,  42  x  29 

Toby  Edward  Rosenthal  (1848-         ) 

Reference:     Isham,  p.  277-7^ 

Trial  of  Constance  de  Beverley  (Scott's  Marmion,  canto  II) 

Brown  carbon,  28  x  41 


37 

Dante  Gabriel  Rossetti  (1828-82) 

References:  Chesneau,  p.  227-29;  Masters  in  Art,  Dec.  1903;  Muther,  v.  3, 
p.  152-76 

The  Blessed  Damozel 

Black  and  white  photogravure,  37  x  22 

Dante*s  Dream.     Size  84  x  126.    Walker  Art  Gallery,  Liverpool,  Eng. 

Brown  photogravure,  28  x  37 

Peter  Paul  Rubens   (1577-1640) 

References:  Barstow,  p.  170-76;  Cox,  p.  96-103;  Kugler,  p.  280-91;  Van 
Dyke,  p.  163-74;  Wilson,  p.  11 7-21 

Two  Sons  of  the  Artist.     Liechtenstein  Gallery,  Vienna 

Brown  photogravure,  27  x  18 

Jacob  van  Ruysdael  (i628?-8i) 

References:  Kugler,  p.  470-75;  Masters  in  Art,  Feb.  1907;  Van  Dyke, 
p.  121-27 

A  Morass,  also  called  The  Swamp.    The  Hermitage  Gallery,  St  Petersburg 

Brown  carbon,  30  x  38 

A  Wooded  Landscape  with  Waterfalls,  also  called  The  Torrent.  Ryks 
Museum,  Amsterdam 

Brown  carbon,  29  x  38 
Dark  green  carbon,  28  x  36 

Landscape  with  Windmill.     Size  32  x  39.     Ryks  Museum,  Amsterdam 
Reference:     *Wilson,  p.  14-16 

Brown  carbon,  35  x  41 
Brown  carbon,  32  x  38 
Brown  carbon,  27  x  32 
Brown  carbon,  21  x  25 

John  Singleton  Sargent   (1856-         ) 

References:      Caffin,   p.   55-67;    *Caffin,   p.   245-53,   320-23;  Cox,   p.   255-65; 

Handbook  of  Boston  Public  Library,  p.  54-71;  Isham,  p.  428-38;  King, 

p.    124-44;    McSpadden,    p.   273-99;    Muther,    v.    4,    p.  304-8;    *Wilson, 
p.  130-33 

Frieze  of  the  Prophets:  Zephaniah,  Joel,  Obadiah,  and  Hosea;  Amos, 
Nahum,  Ezekiel  and  Daniel;  Elijah,  Moses  and  Joshua;  Jeremiah,  Jonah, 
Isaiah  and  Habakkuk;  Micah,  Haggai,  Malachi  and  Zachariah.  Mural 
paintings.     Public  Library  of  the  City  of  Boston 

A  series  of  5  gray  platinum  prints  in  a  black  frame,  24  x  104 

Oyster  Gatherers.  Size  30^/^  x  47^,  date  1878.  Rhode  Island  School  of  ■ 
Design,  Providence,  R.  I. 

Sepia  bromide  print,  20  x  29 

Edward  Simmons  (1852-         ) 

References:    Isham,  p.  553,  560;  King,  p.  149-50 

Justice.     Mural  painting.     Criminal  Courts  Building,  New  York 

Gray  bromide  print,  56  x  30 
Gray  bromide  print,  46  x  30 


38 

Thomas  Sully  (1783-1872) 

References:      Addison,    p.    23;    *Caffin,    88-89;    Hartmann,    v.    i,    p.    32-34; 
Isham,  p.  148-59 

The  Torn  Hat.     Size  19  x  145^.     Museum  of  Fine  Arts,  Boston 

Brown  carbon,  24  x  20 

William  Ladd  Taylor  (1854-         ) 
The   Children's   Hour 

Sepia  bromide  print,  39  x  31 

Hiawatha  and  Minnehaha 

Sepia  bromide  print,  43  x  34 
Sepia  bromide  print,  39  x  31 

Abbott  H.  Thayer  (1849-         ) 

References:    Addison,  p.  i,  46;  *Caffin,  p.  181-85;  Isham,  p.  472;  School  Arts, 
Oct.   1912,  p.  85-88 

Caritas.     Museum  of  Fine  Arts,  Boston 

Brown  carbon,  37  x  26 

Tiziano  Vecellio,  or  Titian   (1477-1576) 

References:     Barstow,    p     113-22;    Bryant,    p.    38,    60-61;    Kuril;    *Kugler, 
p.  590-608;  Masters  in  Art,  Feb.  1900;  *Wilson,  p.  100-6 

Flora.    Uffizi  Gallery,  Florence,  Italy 

Brown  carbon,  37  x  31 

Virgin   and   Angels.     Detail   of   the   Assumption,   Academy  of   Fine   Arts, 

Venice,  Italy 
Reference:     School  Arts,  Mar.   1910,  p.  732-37 

Brown  carbon,  37  x  32 

Constant  Troy  on   (1810-65) 

References:    Bryant,  p.  130;  Eaton,  p.  177-81 ;  Muther,  v.  2,  p.  356-57;  Potter, 
p.  352-55;  *Van  Dyke,  p.  143-51;  Wilson,  p.  22,  27-28 

October  Wood 

Brown  carbon,  32  x  43 

Oxen  Going  to  Labor.    Size  about  102  x  157.    Louvre,  Paris 

Brown  carbon,  28  x  38 

Return  to  the  Farm.     Size  about  102  x  154.     Louvre,   Paris 

Brown  carbon,  27  x  37 
Brown  carbon,  23  x  31 

John  Trumbull   (i  756-1 843) 

References:     *Caffin,   p.  49-56;    Hartmann,   v.    i,   p.   31;    Isham,    p.   98-104; 
Muther,  v.  4,  p.  287-88 

Signing  the   Declaration   of   Independence.     Size  20>^   x   30.     School  of 

the  Fine  Arts,  Yale  University,  New  Haven,  Conn. 
Brown  carbon,  29  x  41 


39 

Joseph   Mallord  William  Turner    (i 775-1 851) 

References:  Bryant,  p.  166-67;  Chesneau,  p.  145-59;  Masters  in  Art,  Nov. 
1902;  Muther,  v.  2,  p.  269-76;  *Singleton,  p.  306-12  (Ruskin)  ;  *Wilson, 
p.  iog-15 

The  Fighting  Temeraire  Tugged  to  Her  Last  Berth.  Size  30^x47^. 
National  Gallery,  London 

Brown  carbon,  33  x  42 
Brown  carbon,  17  x  23 

Anthony  Van  Dyck   (1599-1641) 

References:  Barstow,  p.  17-25;  Bryant,  p.  136;  Hurll;  Kugler,  p.  301-7; 
Masters  in  Art,  Jan.  1900;  Potter,  p.  176-77;  Van  Dyke,  p.  177-85; 
Wilson,  p.  122-25 

Charles  I  of  England.     Size  107^  x  83^,  date  1635.    Louvre,  Paris 

Brown  carbon,  38  x  30 

Three  Children  of  Charles  I.      Picture  Gallery,  Dresden,  Germany 

Brown  carbon,  31  x  34 

William  II  of  Nassau.     The  Hermitage,  St  Petersburg 

Brown  carbon,  50  x  42 
Brown  carbon,  34  x  30 

After  Van  Dyck 

Baby  Stuart.  A  copy  by  Canevari  (Academy  of  St  Luke,  Rome)  of  a 
portion  of  the  painting  of  the  Children  of  Charles  I,  Turin  Gallery, 
Italy 

Brown  photogravure,  26  x  22 

Elihu  Vedder  (1836-         ) 

References:     *Caffin,  p.  171-74;  Isham,  p.  301-4;  McSpadden,  p.  143-65 
Cumaean  Sibyl.     Wellesley  College,  Wellesley,  Mass. 

Gray  platinum  print,  20  x  27 

Samson 

Gray  platinum  print,  20  x  25 

Don  Diego  Rodriguez  de  Silva  Velasquez   (i 599-1 660) 

References:    Barstow,  p.  32-40;  Masters  in  Art,  Mar.  1900;  Wilson,  p.  97-108 
Equestrian  Portrait  of  Don  Carlos.     Prado  Museum,  Madrid 

Brown  carbon,  37  x  32 

Don  Carlos  in  Hunting  Costume.    Prado  Museum,  Madrid 

B.-own  carbon,  33  x  23 

The  Forge  of  Vulcan.    Prado  Museum,  Madrid 

Brown  carbon,  30  x  37 

Alexander   Wagner    (1838-         ) 
The  Chariot  Race 

Brown  carbon,  24  x  32 


40 

Lionel  Walden   (1862-         ) 


Out  for  a  Sail 

Brown  carbon,  21x2  = 


Sir  Ernest  Albert  Waterlow  (1850-         ) 
The  Nursery 

A  woman  and  a  little  girl  are  feeding  some  lambs  from  a  bottle. 

Brown  carbon,  28  x  38 

George  Frederick  Watts  (1817-1904) 

References:     Masters  in  Art,  Jan.  1905 ;  Monkhouse,  p.  5-41 ;  Muther,  v.  3, 
p.  629-44 

Sir   Galahad.     Two   paintings,   one   in   Eton   College,    the   other   owned   by 
Alexander  Henderson,  London 

Brown  carbon,  44  x  27,  Eton  College 
Brown  carbon,  34  x  22,  Eton  College 
Brown  photogravure,  27  x  18,  Eton  College 
Sepia  platinum,  44  x  27,  Mr  Henderson 

James  Abbott  McNeill  Whistler   (1834-1903) 

References:     Caffin,  p.  37-51;  *Caffin,  p.  288-303;   Cox,  p.  227-54;   Isham, 
p.  328-40;  Masters  in  Art.  Dec.  1907;  McSpadden,  p.  222,-71 

Portrait  of  Thomas  Carlyle.     Collection  of  the  Corporation  Art  Galleries, 
Glasgow,  Scotland 

Color  print,  green  frame,  245  x  21 

The  Artist's  Mother.  Luxembourg  Museum,  Paris 
Reference:     School  Arts,  Sept.  1909,  p.  11-15 

Brown  carbon,  32  x  36 
Brown  carbon,  22  x  24 
Dark  brown  print  with  cream  mat,  25  x  28 

GREEK  AND  ROMAN  SCULPTURE 

Bust  of  Homer.    National  Museum,  Naples 
Reference:     Tarbell,  p.  254 

Brown  carbon,  33  x  26 

Three    Fates    from   East    Pediment   of    the    Parthenon.      British    Museum, 

London 
References:     Gardner,  p.  281-82 ;  Garesche,  p.  loi ;  Singleton,  p.  75 

Brown  carbon,  23  x  42 

Venus  de  Milo.    Louvre,  Paris 

References:     Gardner,   p.  482-85;   Garesche,   p.    139;   Singleton,   p.    185-91; 
Tarbell,  p.  118,  249-51 

Black  and  white  carbon,  37  x  31 

Victory  of  Samothrace.    Louvre,  Paris 

References:     Gardner,   p.   485-87;    Garesche,   p.    140;    Singleton,   p.    160-65; 
Tarbell,  p.  247-49 

Brown  carbon,  41  x  29 


41 

Bust  of  Zeus  from  Otricoli.     Vatican,  Rome 

References:     Gardner,  p:  498-99;  Garesche,  p.  192-93;   Singleton    (Liibke), 
p.  49-55 ;  Tarbell,  p.  237-38 

Brown  carbon,  41  x  29 

Caesar   Augustus.     Marble    statue    found   near    Prima    Porta   about    1863. 
Vatican,  Rome 

Black  and  white  carbon,  55  x  42 

RENAISSANCE    AND     MODERN     SCULPTURE 

Henri  Michel  Antoine  Chapu  (1833-91) 

Reference :    Eaton,  Handbook  of  Modern  French  Sculpture,  p,  232-38 
Jeanne  d*Arc.     Luxembourg  Museum,  Paris 

Brown  carbon,  24I  x  20 

Donatello   (i386?-i466) 

References:     Masters   in  Art,   May    1903;   Singleton,   p.  236-46 
St  George.     National  Museum,  Florence,  Italy 

Gray  bromide  print,  64  x  46 

Daniel  Chester  French  (1850-         ) 

References:      Hartmann,   v.   2,   p.   65-66;    International    Studio,    May    1912, 
p.  211-14;  Taft,  p.  310-31 

The    Alice    Freeman    Palmer    Memorial.      Wellesley    College,    Wellesley, 
Mass. 

Brown  carbon,  44  x  30 

Alma  Mater.     Columbia  University,  New  York 

Brown  carbon,  40  x  32 

Michelangelo  Buonarroti  (1475-1564) 

References:     Hurll;  Masters  in  Art,  April  1901 ;  Singleton,  p.  276-99 
David.    Academy  of  Fine  Arts,  Florence,  Italy 

Brown  carbon,  42  x  30 
Brown  carbon,  26  x  21 
Black  and  white  carbon,  black  frame,  352  x  25^ 

Moses.     Part  of  Julius  II   Monument.     Church  of  San  Pietro  in  Vincoli, 
Rome 

Brown  carbon,  38  x  28 

Augustus  St  Gaudens  (i 848-1 907) 

References:     Cox,  p.  266-85;  Hartmann,  v.  2,  p.  42-56;  Taft,  p.  294-309 
Lincoln  Statue.     Lincoln  Park,  Chicago,  111. 

Brown  carbon,  42  x  29 

The  Robert  G.  Shaw  Memorial.     Erected  in  1897.    Beacon  street  opposite 
the  State  House,  Boston 

Sepia  bromide  print,  47  x  55 
Gray  bromide  print,  46  x  61 
Gray  bromide  print,  42  x  53 
Gray  bromide  print,  40  x  46 


42 

Albert  Bertel  Thorwaldsen  (i  770-1 844) 

Reference:     Singleton,  p.  336-41 

Lion  of  Lucerne.     Lucerne,  Switzerland 

Brown  carbon,  32  x  38 

Peter  Vischer 

Reference:     Singleton,  p.  269-75 

King  Arthur  of  England.  Bronze  statue,  7  feet  high.  Hofkirche,  or 
Franciscan  Church,  Innsbruck,  Austria 

Brown  carbon,  54  x  42 

NOTED  ARCHITECTURAL  STRUCTURES  AND  SCENES 

Egypt 

The   Great  Sphinx   Showing  Paws;  Two  of  the   Pyramids   in  the   Back- 
ground.    Near  Cairo 
Reference:     Singleton,  p.  i-io 

Brown  carbon,  30  x  25 

Temple  of  Khons  from  Southeast:  the  Portal  of  Euergetes  I,  Part  of  the 
Large  Pylon,  Mutilated  Sphinxes.     Karnak 

Brown  carbon,  31  x  38 

The  Island  of  Philae  and  the  Nile  River  from  the  Northeast 

Dark  green  carbon  ,31  x  3  7 

Avenue  of  Palms.     Cairo 

Brown  carbon,  41  x  53 
Brown  carbon,  32  x  39 

Road  to  the  Pyramids.     Near  Cairo 

Brown  carbon,  38  x  50 

Greece 
The  Lion  Gate.    Mycenae 

Brown  carbon,  42  x  30 

View  of  Acropolis  and  Temple  of  Theseus  from  the  Northwest.    Athens 

Brown  carbon,  36  x  52 

Black  and  white  carbon,  30  x  42 

View  of  the  Acropolis  from  the  Philopappos  Hill:  Propylea,  Erechtheum, 
Parthenon  and  Lykabettos  (hill)  ;  Nearer  the  Foreground,  the  Odeion  of 
Herodes  Atticus ;  Portion  of  Modern  City 

Brown  carbon,  42  x  53 

Caryatid  Porch.     Erechtheum,  Athens 

Brown  carbon,  27  x  34 

The  Theseum  from  the  Southwest.     Athens 

Brown  carbon,  28  x  40 

The  Theseum  from  the  Northwest;  Part  of  the  Acropolis.    Athens 

Brown  photogravure,  31  x  36 

Columns  of  the  Ancient  Temple;  Aero  Corinth.     Corinth 

Green  carbon,  32  x  38 


43 

Italy 
Milan  Cathedral 

Brown  carbon,  31  x  42 

Temple    of    Neptune,    or    Great    Temple,    from    the    Southeast,      Paestum 

Brown  carbon,  27  x  40 

Cloisters  of  a  Carthusian  Monastery.    About  five  miles  north  of  Pavia 

Dark  green  carbon,  32x37 

Baptistery  Cathedral  and  Leaning  Tower.     Pisa 

Black  and  white  carbon,  37  x  50 
Brown  carbon,  37  x  50 

Arch  of  Constantine.     Rome 

Brown  carbon,  30  x  38 

The   Castle   of  St  Angelo,   River  Tiber  in   Foreground,   St   Peters  in  the 
Distance,     Rome 

Brown  carbon,  29  x  42 

Black  and  white  carbon,  37  x  50 

The  Colosseum.     Rome 

Black  and  white  carbon,  31x42 

Brown  carbon,  27  x  41.     This  print  shows  also  the  Meta  Sudans  and  end  of  the  Arch  of  Con- 
stantine 

The  Roman  Forum.     Rome 

Black  and  white  carbon,  34  x  99 
Brown  carbon,  34  x  55 

The  Pantheon.     Rome 

Brown  carbon,  29  x  39 

Cloisters  of  St  Paul's  beyond  the  Walls.     Rome 

Brown  carbon,  22  x  28 

Interior  of  St  Paul's  beyond  the  Walls.     Rome 

Brown  carbon,  29  x  41 

The  Vatican  Library.     Rome 

Brown  carbon,  42  x  52 
Brown  carbon,  37  x  50 

Grand  Canal,  Venice:     Santa  Maria  della  Salute  (on  right)  ;  a  Palace  (in 
Gothic  style)  and  other  Venetian  Houses  (on  left) 

Green  carbon,  41  x  52 
Green  carbon,  31  x  43 
Brown  carbon,  37  x  50 

Palestine 

Mosque    of    Omar    and    Temple    Area    from    Antonia    Tower,    Looking 
Southwest.     Jerusalem 

Great  Britain 

Abbotsford,    Home   of    Sir   Walter   Scott,   the   Tweed   in   the   Foreground. 
Near  Melrose,  Scotland 

Brown  carbon,  28  x  36 

Canterbury  Cathedral  from  Northwest:  Upper  Part  of  the  West  Towers, 
the  Bell  Harry  Tower,  West  Transept,  Chapter  House 

Brown  carbon,  31  x  42 


44 
General  View  of  Ruins  of  Kenilworth  Castle  from  the  East 

Brown  carbon,  29  x  42 

Choir  of  Lincoln   Cathedral:     Choir  Stalls,   Screen  and   Organ,   Part  of 
the  Triforium  and  the  Clearstory 

Brown  carbon,  28  x  35 

The  Tower  of  London  from  Tower  Hill:     White  Tower,  Waterloo  Bar- 
racks, St  Peters  Church,  Walls  and  Gates 

Brown  carbon,  37  x  51 

Westminster  Abbey  from  the  Northwest.     London 

Brown  carbon,  23  x  29 

Salisbury  Cathedral  from  Northwest 

Brown  carbon,  21  x  27 

Stoke  Poges  Church  and  Churchyard,  Scene  of  Gray's  Elegy  Written  in  a 
Country  Churchyard 

Brown  carbon,  23  x  29 

Anne  Hathaway's  Cottage;  Panorama  of  Stratf ord-on- Avon ;  the  Shaks- 
pere  House 

Three  brown  carbons  in  one  frame,  23  x  80 

Panorama  of  Stratford-on-Avon   from  Memorial   Bridge,   River  Avon   in 
Foreground 

Brown  carbon,  29  x  39 

The  Shakspere  House.    Henley  Street,  Stratford-on-Avon 

Brown  carbon,  28  x  41 

Anne  Hathaway's  Cottage.    Shottery  near  Stratford-on-Avon 

Brown  carbon,  29  x  40 

Windsor  Castle 

Brown  carbon,  32  x  51 

France 
Amiens  Cathedral,  West  Fagade 

Brown  carbon,  53  x  41 

Arc  de  Triomphe  d'Etoile.     Paris 

Brown  carbon,  41  x  53 

Notre  Dame  Cathedral  from  the  Southwest.    Paris 

Brown  carbon,  42  x  54 

Portugal 
Cloisters  of  the  Hieronymite  Convent.     Belem,  near  Lisbon 

Brown  carbon,  42  x  53 

Spain 
Belfry  of  the  Mosque  of  Cordova 

Black  and  white  carbon,  52  x  39 

Court  of  Lions,  Alhambra.     Granada 

Black  and  white  carbon,  41  x  54 

Toledo  Cathedral 

Brown  carbon,  55  x  42 


United  States 
Concord  Bridge  with  Minute  Man  Statue  in  Distance.     Mass. 

Brown  carbon,  29  x  35 

Mount  Vernon 

Brown  carbon,  28  x  38 

The  Capitol,  West  Front  and  North  End.    Washington 

Brown  carbon,  28  x  41 

See  also  titles  listed  under  Natural  Scenery,  page  46 

PORTRAITS 

Unless  otherwise  stated  the  picture  shows  only  the  head  and  shoulders 
in  each  case. 

Alexander  Graham  Bell  (1847-        ).    From  negative  (1904)   from  life  by 
Pach  Bros.  New  York 

Sepia  bromide  print,  28  x  24 

John   Burroughs    (1857-        )•     From  negative    (1904)    from  life  by  Pach 
Bros.  New  York 

Sepia  bromide  print,  29  x  24 

Thomas  Carlyle  (1795-1881).     See  painting  by  Whistler,  page  40 

Charles  Robert  Darwin   (1809-82),  Standing  Figure  to  the  Knees.     From 
painting  by  John  Collier.    National  Portrait  Gallery,  London 

Sepia  bromide  print,  29  x  24 

Thomas  Alva   Edison    (1847-        ).     From  negative    (1906)    from  life  by 
Pach  Bros.  New  York 

Sepia  bromide  print,  30  x  25 

Michael  Faraday  (1791-1867),  Half-length,  Seated  Figure.     From  painting 

(1842)  by  Thomas  Phillips.     National  Portrait  Gallery,  London 
Sepia  bromide  print,  30  x  24 

Baron  Friedrich  Heinrich  Alexander  von  Humboldt  (1769-1859).     From 
painting  (1852)  by  Moses  Wight.    Museum  of  Fine  Arts,  Boston 

Sepia  bromide  print,  30  x  25 

Abraham  Lincoln    (1809-65).     After  daguerreotype  from  Hfe,  about  i860. 

Black  and  white  photogravure,  black  frame,  27  x  24 
Black  and  white  photogravure,  gray  frame,  27  x  24 

See  also   Statue  of  Lincoln  by  St  Gaudens,  page  41 
Henry  Wadsworth  Longfellow   (1807-82) 

Brown  carbon,  26  x  22 

Napoleon  Bonaparte   (1769-1821).     See  painting  by  David 

William  Marconi   (1874-        )•     From  negative    (1908)    from  life  by  Pach 
Bros.  New  York 

Sepia  bromide  print,  28  x  24 

John   Marshall    (1755-1835),    Half-length,    Seated   Figure.     From   painting 
by  Henry  Inman,  owned  by  the  Law  Association  of  Philadelphia 

Black  and  white  photogravure,  23  J  x  20 


Sir  Walter  Scott  (1771-1832) 

Brown  carbon,  26  x  22 

William  Shakspere   (1564-1616) 

Brown  carbon,  26  x  21 

Herbert  Spencer  (1820-1903),  Seated  Figure  to  the  Knees.  From  painting 
(1872)  by  John  Bagnold  Burgess.     National  Portrait  Gallery,  London 

Sepia  bromide  print,  29  x  25 

Alfred  Tennyson,  First  Baron  Tennyson  (1809-92) 

Brown  carbon,  26  x  22 

George  Washington  (1732-99).  From  the  painting  (1795)  known  as  the 
Gibbs-Channing-Avery  Portrait,  by  Gilbert  Stuart  (1755-1828).  Metro- 
politan Museum  of  Art,  New  York 

Reference:    Addison,  p.  11-17 

Brown  carbon,  37  x  32  (this  print  is  practically  the  same  size  as  the  painting,  29  x  24  inches) 

NATURAL  SCENERY 
Mt  Assiniboine   ("The  Matterhorn  of  the  Rockies").     Canada 

Blue  carbon  in  black  frame,  37  x  31 

Panorama   Northeast   from    Mt   Defiance    Showing   Lake   Champlain   and 
the  Position  of  Fort  Ticonderoga  and  of  Fort  Independence.     N.  Y. 

Sepia  bromide  print,  49  x  69 

Castle  of  Chillon  and  Dent  Du  Midi.     Lake  Geneva,  Switzerland 

Brown  carbon,  32  x  38 

The  Hudson  River  North  from  West  Point:  Crow's  Nest,  Breakneck 
Mountain,  Bull  Hill   (Mt  Taurus)  and  part  of  Constitution  Island 

Sepia  bromide  print,  48  x  69 

The  Jungfrau  from  Interlaken.     Switzerland 

Brown  carbon,  31  x  38 

The  Matterhorn.     Switzerland 

Black  and  white  carbon,  53  x  41 

The  Heart  of  Selkirks.     Canada 

Aristo-platino  print  (gray),  22  x  80 

Teton  Range.     Idaho 

Hand  colored  print  in  brown  frame,  22  x  53 
Aristo-platino  print  (gray),  22  x  61 

Yellowstone  Falls  from  Red  Point.     Wyoming 

Green  carbon,  47  x  37 
Green  carbon,  38  x  32 
Gray  bromide  print,  48  x  38 

Cleopatra's  Terrace.     Yellowstone  Park 

Sepia  bromide  print,  47  x  67 

Yosemite  Valley  from  Inspiration  Point  Showing  El  Capitan  and  Cathe- 
dral Rocks.    California 

Hand-colored  print  in  dark  green  frame,  27  x  53 


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